Robert Charles Durman Mitchum (August 6, 1917 - July 1, 1997) was an American film actor, author, composer, and singer. Mitchum rose to prominence for his starring roles in several classic films noir, and is generally considered a forerunner of the anti-heroes prevalent in film during the 1950s and 1960s. His best-known films include The Story of G.I. Joe (1945), Crossfire (1947), Out of the Past (1947), The Night of the Hunter (1955), The Enemy Below (1957), Cape Fear (1962), and El Dorado (1966).
Mitchum is rated #23 on the American Film Institute's list of the 50 greatest American screen legends of all time (25 greatest males/25 greatest females).
Mitchum was born in Bridgeport, Connecticut into a Methodist family. His mother, Ann Harriet Mitchum (née Gunderson), was a Norwegian immigrant and sea captain's daughter, and his father, James Thomas Mitchum, of Scots-Ulster descent, was a shipyard and railroad worker. A sister, Annette, (known as Julie Mitchum during her acting career) was born in 1914. James Mitchum was crushed to death in a railyard accident in Charleston, South Carolina, in February 1919, when his son was less than two years old. After his father's death, his mother was awarded a government pension, and soon realized she was pregnant with her second son, John, who was born in September. She remarried to a former Royal Naval Reserve officer, Lieutenant Hugh Cunningham Morris RNVR, who helped her care for the children. Ann and the Major had a daughter, Carol Morris, who was born July 1927 on the family farm in Delaware. When all of the children were old enough to attend school, Ann found employment as a linotype operator for the Bridgeport Post.
Throughout Mitchum's childhood, he was known as a prankster, often involved in fistfights and mischief. When he was 12, his mother sent Mitchum to live with his grandparents in Felton, Delaware, where he was promptly expelled from his middle school for scuffling with a principal. A year later, in 1930, he moved in with his older sister, to New York's Hell's Kitchen. After being expelled from Haaran High School, he left his sister and traveled throughout the country on railroad cars, taking a number of jobs including ditch-digging for the Civilian Conservation Corps and professional boxing. He experienced numerous adventures during his years as one of the Depression era's "wild boys of the road." At age 14 in Savannah, Georgia, he was arrested for vagrancy and put on a local chain gang. By Mitchum's own account, he escaped and returned to his family in Delaware. It was during this time, while recovering from injuries that nearly cost him a leg, that he met the woman he would marry, a teenaged Dorothy Spence. He soon went back on the road, eventually riding the rails to California.
Mitchum arrived in Long Beach, California, in 1936, staying again with his sister Julie. Soon the rest of the Mitchum family joined them in Long Beach. During this time he worked as a ghostwriter for astrologer Carroll Righter. It was sister Julie who convinced him to join the local theater guild with her. In his years with the Players Guild of Long Beach, he made a living as a stagehand and occasional bit-player in company productions. He also wrote several short pieces which were performed by the guild. According to Lee Server's biography (Robert Mitchum: Baby, I Don't Care), Mitchum put his talent for poetry to work writing song lyrics and monologues for his sister Julie's nightclub performances. In 1940 he returned East to marry Dorothy Spence, taking her back to California. He remained a footloose character until the birth of their first child, James Mitchum, nicknamed Josh (two more children would follow, Christopher Mitchum and Petrine). Mitchum then got a steady job as a machine operator with the Lockheed Aircraft Corporation.
A nervous breakdown (which resulted in temporary blindness), apparently from job-related stress, led Mitchum to look for work as an actor or extra in movies. An agent he had met got him an interview with the producer of the Hopalong Cassidy series of B-westerns; he was hired to play the villain in several films in the series during 1942 and 1943. He continued to find further work as an extra and supporting actor in numerous productions for various studios. After impressing director Mervyn LeRoy during the making of Thirty Seconds Over Tokyo, Mitchum signed a seven-year contract with RKO Radio Pictures. He found himself groomed for B Western stardom in a series of Zane Grey adaptations.
Following the moderately successful western Nevada, Mitchum was lent from RKO to United Artists for the William Wellman-helmed The Story of G.I. Joe. In the film, he portrayed war-weary officer Bill Walker (based on Captain Henry T. Waskow), who remains resolute despite the troubles he faces. The film, which followed the life of an ordinary soldier through the eyes of journalist Ernie Pyle (played by Burgess Meredith), became an instant critical and commercial success. Shortly after making the film, Mitchum himself was drafted into the United States Army, serving at Fort MacArthur, California. At the 1946 Academy Awards, The Story of G.I. Joe was nominated for four Oscars, including Mitchum's only nomination for Best Supporting Actor. He finished the year off with a western (West of the Pecos) and a story of returning Marine veterans (Till the End of Time), before filming in a genre that came to define Mitchum's career and screen persona: film noir.
Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the B-film When Strangers Marry, about newlyweds and a New York City serial killer. Undercurrent, another of Mitchum's early noirs, featured him playing against type as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as bitter ex-husband to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined western and noir styles, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of soldiers, one of whom kills a Jewish man in an act of anti-Jewish hatred. It featured themes of anti-Semitism and the failings of military training. The film, directed by Edward Dmytryk, earned five Academy Award nominations.
Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. Mitchum played Jeff Markham, a small-town gas station owner whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer), comes back to haunt him.
On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana. The arrest was the result of a sting operation designed to capture other Hollywood partiers as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail, (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff") Mitchum spent 43 days (February 16 to March 30) at a Castaic, California prison farm, with Life magazine photographers right there taking photos of him mopping up in his prison uniform. The arrest became the inspiration for the exploitation film She Shoulda Said No! (1949), which starred Leeds. The conviction was later overturned by the Los Angeles court and District Attorney's office on January 31, 1951, with the following statement, after it was exposed as a setup:
After an exhaustive investigation of the evidence and testimony presented at the trial, the court orders that the verdict of guilty be set aside and that a plea of not guilty be entered and that the information or complaint be dismissed.
In a segment of TCM's Private Screenings, Mitchum tells host Robert Osborne that his arrest in the marijuana raid "never happened," that it was completely staged by the movie studio's publicity department. This claim left Osborne visibly stunned.
Whether despite, or because of, his troubles with the law and his studio, the films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden, while he appeared in the film adaptation of John Steinbeck's novella The Red Pony (1949) as a trusted cowhand to a ranching family. He returned to true film noir in The Big Steal (also 1949), where he again joined Jane Greer in an early Don Siegel film.
Career in the 1950s and 1960s:
In Where Danger Lives (1950), Mitchum played a doctor who comes between a mentally unbalanced Faith Domergue and cuckolded Claude Rains. The Racket was a noir remake of the early crime drama of the same name and featured Mitchum as a police captain fighting corruption in his precinct. The Josef von Sternberg film Macao (1952) saw Mitchum a victim of mistaken identity at an exotic resort casino, playing opposite Jane Russell. Otto Preminger's Angel Face was the first of three collaborations between Mitchum and British stage actress Jean Simmons, in which she plays an insane heiress who plans to use young ambulance driver Mitchum to kill for her.
Mitchum was expelled from Blood Alley (1955), purportedly due to his conduct, especially his reportedly having thrown the film's transportation manager into San Francisco Bay. According to Sam O'Steen's memoir, Cut to the Chase, Mitchum showed up on-set after a night of drinking and tore apart a studio office when they didn't have a car ready for him. Mitchum walked off the set of the third day of filming Blood Alley, claiming he could not work with the director. Because Mitchum was showing up late and behaving erratically, producer John Wayne, after failing to obtain Humphrey Bogart as a replacement, took over the role himself.
Following a series of conventional westerns and films noir, as well as the Marilyn Monroe vehicle River of No Return (1954), he appeared in Charles Laughton's only film as director, The Night of the Hunter (1955). Based on a novel by Davis Grubb, the thriller starred Mitchum as a monstrous criminal posing as a preacher to find money hidden by his cellmate in the cellmate's home. His performance as Reverend Harry Powell is considered by many to be one of the best of his career.Stanley Kramer's melodrama Not as a Stranger, also released in 1955, was a box-office hit. The film starred Mitchum against type, as an idealistic young doctor, who marries an older nurse (Olivia de Havilland), only to question his morality many years later. However, the film was not well received, with most critics pointing out that Mitchum, Frank Sinatra and Lee Marvin were all too old for their characters. Olivia de Havilland received top billing over Mitchum and Sinatra.
On March 8, 1955 Mitchum formed DRM (Dorothy and Robert Mitchum) Productions to produce five films for United Artists though only four films were produced. The first film was Bandido (1956). Following a succession of average westerns and the poorly received Foreign Intrigue (1956), Mitchum starred in the first of three films with Deborah Kerr. The John Huston war drama Heaven Knows, Mr. Allison, starred Mitchum as a Marine corporal shipwrecked on a Pacific Island with a nun, Sister Angela (Deborah Kerr), being his sole companion. In this character-study, they struggle to resist the elements and the invading Japanese army. The film was nominated for two Academy Awards, including Best Actress and Best Adapted Screenplay. For his role, Mitchum was nominated for a BAFTA Award for Best Foreign Actor. In the WWII submarine classic The Enemy Below (1956), Mitchum gave a strong performance as U.S. Naval Lieutenant Commander Murrell, the captain of a U.S. Navy Destroyer who matches wits with a German U-Boat captain Curt Jurgens, who ironically would star with Mitchum again in the legendary 1962 movie The Longest Day. The film won an Oscar for Special Effects.
Thunder Road (1958), the second DRM Production was loosely based on an incident in which a driver transporting moonshine was said to have crashed to his death on Kingston Pike in Knoxville, Tennessee, somewhere between Bearden Hill and Morrell Road. According to Metro Pulse writer Jack Renfro, the incident occurred in 1952 and may have been witnessed by James Agee, who passed the story on to Mitchum - who not only starred in the movie, but also produced the film, co-wrote the screenplay, and is rumored to have directed much of the film himself. Mitchum also co-wrote (with Don Raye) the theme song, "The Ballad of Thunder Road". He returned to Mexico for The Wonderful Country (1959) and Ireland for A Terrible Beauty/The Night Fighters for the last of his DRM Productions.
Mitchum and Kerr reunited for the Fred Zinnemann film, The Sundowners (1960), where they played husband and wife struggling in Depression-era Australia. Opposite Mitchum, Kerr was nominated for yet another Academy Award for Best Actress, while the film was nominated for a total of five Oscars. Robert Mitchum was awarded that year's National Board of Review award for Best Actor for his performance. The award also recognized his superior performance in the Vincente Minnelli western drama Home from the Hill (also 1960). He was teamed with former leading ladies Kerr and Simmons, as well as Cary Grant, for the Stanley Donen comedy The Grass Is Greener the same year.
Mitchum's performance as the menacingly vengeful rapist Max Cady in Cape Fear (1962) brought him even more attention and furthered his renown as playing cool, predatory characters. The 1960s were marked by a number of lesser films and missed opportunities. Among the films Mitchum passed on during the decade was John Huston's The Misfits, the last film of its stars Clark Gable and Marilyn Monroe, the Academy Award-winning Patton, and Dirty Harry. The most notable of his films in the decade included the war epics The Longest Day (1962) and Anzio (1968), the Shirley MacLaine comedy-musical What a Way to Go! (1964), and the Howard Hawks western El Dorado (1966), a remake of Rio Bravo (1959), in which Mitchum took over Dean Martin's role of the drunk who comes to the aid of John Wayne.
One of the lesser-known aspects of Mitchum's career were his forays into music, both as singer and composer. Critic Greg Adams writes that "Unlike most celebrity vocalists, Robert Mitchum actually had musical talent." Mitchum's voice was often used instead of that of a professional singer when his character sang in his films. Notable productions featuring Mitchum's own singing voice included Rachel and the Stranger, River of No Return and The Night of the Hunter. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Invader while filming Heaven Knows, Mr. Allison in the Caribbean island of Tobago, he recorded Calypso -- is like so ... in March 1957. On the album, released through Capitol Records, he emulated the calypso sound and style, even adopting the style's unique pronunciations and slang. A year later he recorded a song he had written for the film Thunder Road, titled "The Ballad of Thunder Road". The country-style song became a modest hit for Mitchum, reaching No. 69 on the Billboard Pop Singles Chart. The song was included as a bonus track on a successful reissue of Calypso ... and helped market the film to a wider audience.
Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. The album, released by Nashville-based Monument Records, took him further into country music, and featured songs similar to The Ballad of Thunder Road. "Little Old Wine Drinker Me", the first single, was a top-ten hit at country radio, reaching No. 9 there, and crossed over onto mainstream radio, where it peaked at No. 96. Its follow-up, "You Deserve Each Other," also charted on the Billboard Country Singles Chart. He sang the title song to the western Young Billy Young, made in 1969. Mitchum co-wrote and composed the music for an oratorio which was produced by Orson Welles at the Hollywood Bowl.
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