The Longest Day (1962)

It's somewhat fitting that a film titled The Longest Day should have a long running time. And while its 178 minutes don't exactly fly by, because a great many tiny dramas exist within the larger one (i.e. the World War II D-Day landings at Normandy in June, 1944) it rarely drags its heels.
Also noteworthy is the cast. It's packed with famous faces but many have little more than a cameo role. The closest it has to a leading man is either John Wayne or Robert Mitchum, but even they feature only occasionally because the binding thread is the event itself, not any one person or squad. That means we get scenes not just from the Allied side but the French and German sides, too, and in each case it's in the nation's native tongue, like it ought to be.

4 tough nuts out of 5

The Night of the Hunter (1955)

We're told at the outset that “blessed are the pure in heart…” That rules out Robert Mitchum’s character, although it doesn't stop him talking directly to God. They have something in common after all: God kills people, too.
The first half is superb stuff, filled with the kind of filmic techniques and cinematic quality that would make even Orson Welles grin and cough up for a round of drinks. The second half has some equally notable scenes but the story feels rushed in the last 15-20 minutes. An appreciation for what it dared to do from a technical point of view and an acceptance that it falls to pieces at the end are required to recognise its true worth.

4 warring fingers out of 5

Cape Fear (1991)

I can almost see why Scorsese would want to remake such a classic—he wouldn't be restrained by the same kind of moral restrictions as before—but the end result isn't as good as it could've been. He goes to great lengths to show that film has moved on from when the original was made, employing a multitude of techniques that almost overwhelm the story.
If the relationships of the family unit were more believable they might have balanced it out more evenly, but there’s something missing from the performances of both Nolte and Lange. Lewis fares better, though, and like Mitchum before him De Niro as the Max Cady character is the main reason to watch. The finale is balls, but everything he does prior to it is great.
Mitchum gets a small role and there’s a cameo from Gregory Peck, both of whom starred in the original film (1962).

3½ prison skills out of 5

Cape Fear (1962)

Sam Bowden is a rich attorney with a big house, young daughter and beautiful wife. They’re the kind of family that on weekends probably enjoy cream cakes on their generous sized lawn, without a care in the world. Into their peaceful existence comes Max Cady, an ex-con with a reason to make Sam’s life a living hell and the means to do so.
What makes the film more than just another average 1960s thriller is the threatening nature of Mitchum as a creepy, violent stalker, and the tense, knife-edge Bernard Herrmann music that accompanies him. Even when being friendly, Mitchum’s supremely menacing.

4 steady footsteps out of 5

Farewell, My Lovely (1975)

The third filmed version of Raymond Chandler's book was Robert Mitchum's first time under the hat. He gives a fantastic performance as the detective hunting for a woman who doesn't want to be found.
The Noir language draws constant attention to itself, meaning it never feels real, but Marlowe’s sarcasm and hyperbole are so well-scripted that it doesn't matter. Hard boiled isn't reality; that’s part of the charm.

4 glasses of bourbon out of 5

The Big Sleep (1978)

Robert Mitchum's second outing as Raymond Chandler's Philip Marlowe was poorly received at time of release, but that doesn't stop me loving it.
Director Winner transposed events from California to London and updated it to a modern setting. I think it works. It shows that Noir storytelling can be effective even when bastardised by a pompous Brit. It's also much more graphic than the earlier Howard Hawks version.
Mitchum's intensity is restrained but his methodological effectiveness isn't; he's no time for fools and he makes every word count.

4 long drives out of 5

Secret Ceremony (1968)

Elizabeth Taylor, in one of her more interesting roles, plays an unhappy prostitute with some very silly wizard gowns. Mia Farrow steals the film as a young woman with some extreme psychological problems. Together the two women facilitate each other’s fantasy world.
The house in which Mia lives is full of decadent colour and baroque design and yet with an understated lighting it remains mysterious and eerie.
The film gave me the feckin wiggins; not in the usual horror movie or David Lynch way, but in a whole new way I've never experienced before. I found it uncomfortable but essential viewing.

4½ scary pervert scenes for Mitchum out of 5