Going Home

Awkwardly directed throughout, with crappy TV music, this movie's clumsy editing brings down a wonderfully nuanced performance from Robert Mitchum. In fact, some of the acting by all the actors is solid but undermined by a lifeless atmosphere, almost stagey at times.

After Ryan's Daughter Robert Mitchum retired from the screen and found he was bored with retirement and with writers sending him scripts as they always do, he picked Going Home as a comeback vehicle. I don't think Mitchum was gone even a year so it wasn't like he was missed.

What could have been a classic settles into the ordinary as Mitchum plays a father just released on parole from prison. What he did back in the day was kill his wife in a drunken rage. It was a manslaughter count that he would have plead guilty to. But also his young son witnessed his father do the deed.

The kid grows up to be Jan-Michael Vincent who started his career playing sensitive youths. Vincent of course is barely concealing his anger and he takes it out on Mitchum in a not too subtle way.

With that murderous act creating a gulf between them there was no hope of reconciliation and both would have been better off to have left sleeping dogs lie.

The third person in the mix here is Brenda Vaccaro who was coming off a great performance in Midnight Cowboy. She plays Mitchum's girlfriend and her in the picture isn't guaranteeing anything but sexual tension all around.

Going Home is an interesting film, but just doesn't quite get its message across. All these people had some great work ahead, Mitchum and Vincent would be together in The Winds Of War which is far superior to Going Home and they would be father and son again.

Going Home (1971)

** 1/2 (out of 4)

This rather bizarre drama features Robert Mitchum playing a man who gets released from prison after thirteen years for killing his wife in cold blood. His now adult son (Jan-Michael Vincent) comes to stay with him in hopes of reconnecting as well as finding out what happened that night. GOING HOME seems to be trying to be one of those dark dramas that were starting to take over the decade. Think FIVE EASY PIECES but in this case the movie was serving as a comeback for star Mitchum who ended his brief retirement for this picture. This is an extremely bizarre film and from what I've read it was one of several pictures that MGM cut and re-arranged so that they could avoid an R-rating. I'm not sure what the complete history is and there are some really strange plot points but the film is still worth seeing for the performance of Mitchum. It's really a shame that the film didn't match the excellent performance because we're given an interesting story but very little is done with it. The thought of a kid witnessing his dad kill his mom and then trying to reconnect with him was something that should have worked but the film never makes too much sense in what it's trying to do. You'd think that we'd have sympathy for the kid but we don't because he's a complete weirdo and a creepy. You'd think we could understand this because of what happened to him as a child but the movie doesn't even try to play that angle and instead he's just shown as a very bad person and especially after a plot twist that happens towards the end. Again, I've read that in the original version this made more sense but by cutting the picture it really does seem that the studio hurt not only the film but whatever they were going for with the character. Again, Mitchum is excellent in his role and you could say it's one of his more memorable performances from the later part of his career. He was quite believable in the role of the father and made you care for the guy and want to see him get his life in order. Brenda Vaccaro is excellent as his girlfriend and she certainly helped carry the film. Vincent is good in his part but I just wonder what else the film had to offer his part. GOING HOME is still worth seeing for the Mitchum performance but there are just so many unanswered questions remaining.

If someone says they have had the perfect life they are either lying or are a single child being raised by a single parent, and even then maybe they just have not lived long enough. There are three fine perfomances on display by a young Jan-Michael Vincent, Brenda Vaccaro and of course Robert Mitchum.

This is a story only a few families may be able relate to in relation to a murder of one parent by another parent, and in this case it is about Robert Mitchum while in a drunken stupor murdering his own wife as his young son around seven (7) years of age is left parentless after his father is imprisoned. Eventually Mitchu is released from prison and he has a new girlfriend (Vaccaro) to which they are trying to re-build their lives when unexpectedly Mitchum's now teenage son (Jan-Michael Vincent) suddenly appears at their door.

Neither father, son, nor Brenda Vaccaro who is Mitchum's live-in trailer girlfriend know how to adapt to being a family since Mitchum has spent the last decade or so in prison while his young son grew up in foster homes. It is not an easy watch as stuff happens in real life that is unpleasant to have to hear, let alone watch. But families can overcome great difficulties if they can learn to live with their pasts and become better people. This is the story of father Harry K. Graham (Robert Mitchum), estranged son Jimmy Graham (Jan-Michael Vincent) and Harry's live in girlfriend Jenny Benson (Brenda Vaccaro) who have to try and find a way to not only survive but to live as a family.

A 6/10 rating

Underrated, little-seen melodrama got shelved in the early 1970s after a limited run. Too bad, it gives Robert Mitchum a fantastic role as parolee who served time for killing his wife. The movie follows his release and eventual reconnection with his estranged teenage son, who as a child witnessed his mother's death. Jan-Michael Vincent is very good as the kid with the tangled feelings (curious about his father, but also angry and resentful); Brenda Vaccaro is terrific as a new woman in Mitchum's life (it's possibly Vaccaro's finest hour). The wife's death, seen in flashback, is tastefully handled by director Herbert B. Leonard, who gets some wrenching scenes out of his cast. A low-keyed, affecting gem about conflicted human emotions. ***1/2 from ****