La rivière sans retour

Of all of Marilyn Monroe's leading men, Robert Mitchum was the only one who knew her back when. In 1941 before he made his screen debut in a Hopalong Cassidy film, Mitchum was among other things an aircraft factory worker and one of his friends was one James Daugherty. Of course Jim had a wife Norma Jean at the time and Bob and Dorothy occasionally socialized.

He knew all about her psychological problems and when it came time to do a film with her when both became screen legends, Mitchum was not about to get himself involved. That probably helped because during the shooting Marilyn and director Otto Preminger stopped speaking and would only communicate through Mitchum.

Marilyn's a saloon gal involved with a no good gambler/drifter in Rory Calhoun. Calhoun and Monroe nearly drown on a river when Mitchum rescues them and their raft. No good deed goes unpunished so Calhoun takes Mitchum's horse and Mitchum, Monroe, and Mitchum's son Tommy Rettig use the raft to go after him. They're kind of forced to because the Indians are on the warpath.

She's certainly quite a distraction for a man on a mission and at one point Mitchum does give into lust ever so briefly. Which does make River of No Return one of the more realistic westerns ever done.

Twentieth Century Fox decided to go whole hog on this one, shooting the film up in Banff. But with Marilyn and Otto feuding it was not a happy set. Otto walked off the picture and Jean Negulesco finished it out. Joe DiMaggio flew up to the set because of rumors of Mitchum and Marilyn, that were completely unfounded, but Joe was the jealous type. As for Mitchum legend has it that he and another legendary drinker, Murvyn Vye, killed many a bottle during the long evenings.

Done in cinemascope and 3-D, River of No Return should be seen on the big screen. Not even a letterbox DVD does it justice. And 3-D was definitely the medium for Monroe. Marilyn even has some nice songs to sing in this one.

It's not a great western, still it's entertaining enough especially in those rafting sequences. But it was a film Otto Preminger shuddered about when recalling.

An unexceptional story beautifully directed by Otto Premiger, whose handling of this routine material makes it work as well in its way as the best of Anthony Mann. A stolen rifle figures prominently in this western, as does an Indian attack, the budding romance between a puritanical homesteader with a past and a saloon singer in trouble, and of course the eponymous and oftentimes violent river they raft down. The northwest scenery is breathtaking. Preminger gives a nice drive to his narrative without stressing any one element for too long. For a while it's a farmer-son story, then a badman story, then there's a journey down the river, then a romance, then an Indian attack. Scenes play out dramatically rather than melodramatically despite the genre limitations of the script, and this shows Preminger's steady hand. He doesn't mind making his movie a bit of a travelogue or nature film if the mood strikes him, and therefore the picture has a nice diversity, and many lovely things to look at. Chief among its many scenic attractions is Marilyn Monroe in the female lead. I can't say that this is her best performance but it's one of her best non-musical or comedy roles that isn't too serious, which is to say it's not at all like How To Marry a Millionaire, Bus Stop, The Prince and the Showgirl or The Seven Year Itch in that there's no air of a heavyweight property with lots of money and talent behind it, which works in the movie's favor, as it is a pleasant surprise. This is perhaps Miss Monroe's only 'throwaway' role of her starring career, and she makes the best of it by playing her part naturally and with none of the ironic, self-referential self-deprecation one often finds in her major starring vehicles. Robert Mitchum is excellent in the male lead, as is Tommy Rettig as his son, who more than holds his own with these two adult heavyweights. The songs Monroe sings are all pretty good and well-delivered and add to the story in each case, which is unusual. One cares for these people, who behave credibly despite the mechanical plot devices, and the movie ends on a touching visually and musically orchestrated grace note, as if something of profound importance had just transpired.

Cinemascope was at the height of popularity when Fox decided to cast Marilyn Monroe and Robert Mitchum in a story set against the scenic splendor of the Rockies. Marilyn even gets to sing a few fetching song numbers (her saloon song atop a bar is a standout and she delivers a totally professional job). Sleepy-eyed Mitchum makes a good partner for Monroe and little Tommy Rettig scores as the adoring little boy who watches wistfully as Monroe strums a song on her guitar.

Into the story, slight as it is, is an Indian attack while Mitchum and Monroe battle the rapids. It's all very routine going, for the most part, but the chance to see Monroe strut her stuff in a tight pair of jeans and Mitchum give a sturdy, likeable performance is enough to make the movie a pleasant way to spend a couple of hours.

Nothing great here, but a very satisfying performance by Marilyn who does a more than competent job on her less than inspired songs. And the scenery helps.

Otto Preminger's direction is not as taut as it should have been for a tale of this sort--in fact, the whole film has a lumbering pace that seems to make some parts of the story seem more like filler material than anything else. And poor Rory Calhoun has little to do.

"River Of No Return" spotlights one of Marilyn Monroe's best early performances, once more showing the world that she was more than just another sex kitten, that there was real talent behind her beautiful figure. Most contemporary critics failed to recognize Marilyn's extraordinary gifts other than the obvious ones. Too bad she was short changed in the song department. Had Marilyn been allowed to strut her stuff with a composition comparable to Marlene Dietrich's ribald "See What The Boys In The Backroom Will Have" from "Destry Rides Again," she would have brought down the house. Instead Marilyn is stuck with three ditties that don't deserve their big movie status, "I'm Gonna File My Claim," "One Silver Dollar," and "Down In The Meadow." The exception is the bewitching title ballad hauntingly sung by Tennessee Ernie Ford over the opening credits and later with verve and longing by Marilyn.

Not only does Marilyn exhibit a marvelous acting style, but she is paired with one of the most underrated actors in Hollywood history, Robert Mitchum. Why critics have often failed to notice his abilities as a performer is amazing, with so many inventive portrayals to his credit. Rory Calhoun has his moments as a low-life scoundrel loved by Marilyn. And little Tommy Rettig is ideally cast as Mitchum's abandoned son. His role in "River Of Not Return" is perhaps the reason he was later chosen to play a similar part in TV's "Lassie."

Joseph LaShelle's cinematography is breathtaking, except for the obvious rear projection used in the treacherous raft scenes depicting Mitchum, Monroe, and Rettig fighting the rapids on the River Of No Return. The beauty of Alberta, Canada's Jasper National Park is spellbinding and definitely an asset. The footage shot along the Toutle river in Washington State supplements the Canadian grandeur.

A major weakness of the movie is the lackluster script and threadbare story. Since the plot is a simple one, director Otto Preminger must emphasize the interplay of the leading characters with as much analysis as possible. Here the writer Frank Fenton, who based his screenplay on a story by Louis Lantz, is unable to rise to the task. Though many of the lines between Mitchum and Monroe and good ones, there are not enough of them to sustain an entire film.

Matt Calder (Mitchum) seeks his son entrusted to a friend when Calder went to jail for killing a man (possibly in self-defense). His son, Mark (Mark follows Matthew in the Bible), is left to wonder around a boom town until taken in by the local dance hall queen, Kay Weston (Monroe). Once Matt finds Mark, the two journey to Matt's farm on the banks of the River Of No Return. Floating down the river come Kay and her husband, Harry Weston. Both are in danger of drowning. Matt saves them only to have Harry steal his horse and take off. Kay has a distorted image of Harry in her mind, bent out of shape by the pliers of love. Matt perceives Kay as nothing more than trash, but his son knows a different side of her, a kind and loving woman. The three take off down the River Of No Return: She to get back her man; he to kill her man; and the boy to try to work it all out in a peaceable manner, with an ironic twist to the story at the end.

The River Of No Return, as the name implies, is symbolic, but of what? The metaphor is not easy to reconcile with the story, except in places. See what you can do with it.

Nine-year old boy is reunited with his estranged father in a northwest boom town in the midst of Gold Fever; they take off for a life of fishing and hunting but are soon railroaded by a crooked gambler and his gal, a saloon singer who gets a pang of conscience and stays with dad and the kid. Soon, all three are on the run from Injuns, on a raft down a treacherous river. Lackadaisical western puts action on the back-burner to focus on character interaction, which in this case isn't such a bad thing. Robert Mitchum never puts on a big show: tough and steely, but paternal towards the kid and easy with the lady, he's gruffly polite--and unapologetic about his behavior. Marilyn Monroe is such a drama queen, she can't deliver a simple monologue without twitching something (her eyes, her lips, her nostrils); she is lovely (and, in a singing scene outdoors with the boy, very natural), but one warms to her because she's Marilyn (her legend exceeds the worn material and her over-emphatic delivery). Otto Preminger directed, but this doesn't feel like a Preminger movie. There are no tart or prodding scenes, and the dangerous rapids excursions--and Indian rampages--are not staged for maximum impact. The Indians, armed with arrows, simply seem like bad shots, and the close-up sequences on the raft were obviously achieved in the studio. Still, the occasional on-location photography is breath-taking, and the three principles grow steadily on the audience as well as towards each other. Beautiful theme song is sung in versions by both Mitchum and Monroe. **1/2 from ****