Howard Hughes, coercion, drunken fistfights - His Kind of Woman's disastrous production could've sank the film. But, 70 years ago, the Robert Mitchum, Jane Russell, and Vincent Price movie became a messy masterpiece. chlopinions explains:
in to the studio, he thought it was done. Howard Hughes—RKO studio boss and famously eccentric billionaire—did not. Hughes had become enraptured with Vincent Price’s larger-than-life character, and demanded rewrites enlarging his role and the additions of more action and brutality to the whole picture. Farrow, quite happy with his finished product, quit.
Hughes forcibly recruited a reluctant Richard Fleischer to direct the new material by refusing to release the film Fleischer had just finished—the excellent. Fleischer spent months completing the reshoots, but then Hughes demandedround of them when he decided to replace Lee Van Cleef—who had been the chief villain—with Burr.
If this was a more conventional movie, you might be justly annoyed that Mitchum and Russell are almost completely sidelined for the pivotal third act—he spends it being beaten unconscious by Burr’s goons, she spends it locked in a cupboard by Price. To have such a smoldering leading pair at your disposal, and then bench them? Madness!is not a conventional movie.
From the gleeful smile that envelops his face when Mark realizes his cinematic swashbuckling skills are about to be needed in real life, Price becomes the star of, and he yanks the film from laid-back noir to high-key actioner in uniquely exuberant style. Everything he says after he enters full swaggering hero mode sounds ridiculous, and yet—because the movie completely understands Price’s appeal—utterly sublime.
There are plenty of classic film noirs out there, just as there are plenty of fun adventure comedies. There’s only oneChloe Walker is a writer based in the UK. You can read her work at Culturefly, the BFI, Podcast Review, and Paste.
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