Phonearl Good start, but then it gets ruined

Claysaba Excellent, Without a doubt!!

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

rochesternypizzaguy Good performances, yes, but the plot was implausible - gangster wants to lure a guy to Mexico so he can do some sort of plastic surgery to sneak into the U.S. using the other guy's passport. Huh? And the movie turns into a mashup between film noir and crime farce, with Robert Mitchum holding up his noir end while Vincent Price hams it up while reciting Shakespeare. Very strange movie that could've been a lot better.

LeonLouisRicci People and Critics (even those that are People) Seem to Like this Train Wreck for the Sum of its Parts. There is Some Great Noir Dialog and Interesting Shading to the Film, but the Plot and Tone has More Cleavage than Jane Russell.It is Sliced Off Here and There, Cut with a Meat Cleaver, Inserting Non Sequiturs and Jarring Scenes that Make No Sense and Further Make the Heavy Plot Incomprehensible and Awkward.Robert Mitchum Stays in His Film-Noir Persona with a Sharp Tongue and Cynical Attitude and Jane Russell is On Display. Vincent Price was Inserted as the Oddball Actor and then More Insertion as a Shakespearean Speech Maker. It is Funny, Individually, but when Paired with the Violent and Sadistic Raymond Burr Scenes, the Addition May Bring Notice but its Not a Good Fit.There are Nazi-Drugs and Close-Ups of Veins Waiting for Needles, Beatings with Belt Buckles Intercut with Price in Flowing Cape, Hamming it Up and Spouting Quotes and Barbs and the Film Collapses into a Surreal Slapstick Composite with Film-Noir.Overall, Worth a Watch for the First Two Acts, the Good Snappy Patter (at least in the first half), the Good Supporting Cast along with Mitchum, and to See Just How Much Damage from a Meddling Howard Hughes Could Cause.

zardoz-13 The big question about the thoroughly entertaining "His Kind of Woman" is who staged the incredibly suspenseful action scenes? John Farrow received credit as the director of record, but the trivia section about this movie at IMDb reveals that producer Howard Hughes hired Richard Fleischer to re-shoot the entire film. "His Kind of Woman" is an indulgently-paced, ironic, skewering of machismo. This is refreshing ahead of its time when most heroic actors took themselves seriously. Frank Fenton of "Garden of Evil" and "Narrow Margin" scribe Jack Leonard are listed as the primary scenarists. Gerald Drayson Adams is listed as the man who concocted the story. Adams is remembered for an earlier Mitchum effort "The Big Steal" and the Audie Murphy oater "Duel at Silver Creek."Nevertheless, word is that Hughes rewrote the ending, but how much of it did he rewrite. This atmospheric but lethargic crime thriller pits naive gambler Don Milner (Robert Mitchum) against deported gangster Nick Ferraro (Raymond Burr of "Perry Mason" fame), and the a hammy actor who breaks up their confrontation. Vincent Price plays Mark Cardigan who stupidly braves the odds and rescues our outnumbered hero in the last hour. The energetic last hour of this overlong thriller compensate somewhat with Farrow/Fleischer nimbly cross-cutting between Ferraro and the hero and Mark Cardigan as he musters a boarding party to storm the crime figure's yacht. Raymond Burr makes an excellent villain. Farrow does a first-rate job of generating suspense when Mitchum struggles against his captors who are about to inject him with a drug. Clearly, this movie came at a time in Mitchum's career that he could waltz around with his chest bared. Jane Russell enlivens things when our heroes aren't swapping blows or lead with the villains. Anthony Caruso capably plays one of Ferraro's evil minions.

Robert J. Maxwell Robert Mitchum shows up in Southern California, having just been released from the slams, and hasn't got a shoe to his foot. Some strangers show up and offer him ten grand to go on a mission to a Mexican resort where he will be given a lot more money. What is the mission? They won't say.So Mitchum, having nothing better to do, flies to the lodge on the ocean where a room is waiting for him. Nobody greets him. None of the other guests seem to know who he is or what he's doing there. The others are of diverse type -- seedy-looking guys with mustaches or dark glasses, Vincent Price as an egomaniacal actor putting moves on the nightclub canary he's squiring around, Jane Russell. Mitchum noses through them, asks questions, refuses drinks, does small favors, flirts with Russell. That's what he does for a full hour. That's ALL he does, while the plot stagnates and develops a severe case of pond scum.Finally he discovers that the mastermind behind his mysterious vacation is Raymond Burr, a deported gangster who wants -- somehow -- to take Mitchum's face and identity and make them his own, while disposing of what remains of the original Mitchum. That way, Burr will be able to sneak back across the border posing as somebody else.It's a LONG sucker too, and I found it nearly excruciating to sit through. I saw one second-unit shot of a beach somewhere. The rest was all shot on an RKO sound stage. The place is colorless. The art direction and set dressing is abominable. Nothing looks like Mexico. At best it looks like a failed attempt to duplicate somebody's sunken living room in the San Fernando Valley. If you must watch it, just for the hell of it, check out the paintings on the walls. I am no art snob but these are truly offensive. They fall into two categories. Some are bad paintings of sailing ships, straight off a motel room wall. The others look like something Juan Miro might have done on mushrooms.There are some tense moments towards the end, when Mitchum is beaten to a pulp aboard Burr's yacht and is about to be injected with a drug that will render him immediately unconscious and, when he wakes up, will have turned his brain to tofu. But this is undercut by Vincent Price's attempts at humor while trying to board the ship against the resistance of its hoodlum crew. While the film could use some comic moments, the suspenseful, action-filled climax isn't the place for them. Every dilatory slapstick gag associated with Price is an irritation because, only a few yards away, the scenes in which Mitchum is fighting for his life are treated in dead earnest.It's not worth much further comment. Mitchum walks sleepy-eyed through his part. Jane Russell has big knockers. Vincent Price was a much better narcissistic ham actor in "Theater of Blood." Two of the tunes are memorable: "Five Miles To San Berdoo," which is a variation of "Ninety-nine Bottles of Beer on the Wall," and the dance music played in the resort's night club, which is a shameless rip off of Gershwin's "The Lady Is A Tramp." It has a few virtues. One is that the photography is dark and menacing, very nicely done. (A beach scene fails completely.) Another is -- well, that's the only virtue I can think of. No -- wait! I thought of two more major cinematic breakthroughs! (1) When Tim Holt and Charles McGraw are listening to a report on a short-wave radio, the Morse Code is correct. "TOA" followed by a number, which Holt accurately interprets as "time of arrival." And the call sign of the station they're at is "XFO." Well, if it's a commercial land-based Mexican station, the call sign must consist of three letters and the first one must be "X". (2) Some brief but pleasing shots of two popular small airplanes of the post-war period: a V-tailed Beechcraft Bonanza and a low-wing Ryan Navion. That's about it for the good parts.