The woman of his dreams

After deportation from the United States, the mafia boss Nick Ferraro ( Raymond Burr ) settled in Naples . Far from the businesses he controlled, he began to lose revenue. As a result, at a meeting with his henchmen Corley ( Paul Frieze ), Thompson ( Charles McGraw ) and Martin Krafft ( John Maylong ) Ferraro decides to illegally return to America and gives the order to find a person in the United States who would be of the same height, weight and build . In Los Angeles, they find 35-year-old Dan Milner ( Robert Mitchem ) who makes a living by gambling. After a series of major losses, Dan found himself in debt, and creditors began to chase him, beating and demanding a refund.

One day, Corley invites Dan to a luxurious villa, where he makes an unexpected offer - for a fee of 50 thousand dollars, Dan must leave America and spend some time abroad. In a hopeless financial situation, Dan agrees to this offer. Corley immediately gives him $ 5,000 in cash and a plane ticket to the Mexican city of Nogales , where Dan will have to receive further instructions. Having reached Nogales, Dan met at the airport with the beautiful American Lenor Brent ( Jane Russell ), who poses as a rich heiress. To take time, she sings with local musicians and drinks expensive champagne. Finally, boarding a small charter plane is announced, which is heading to the secluded luxury resort "Morroz Lodge" on the Baja California Peninsula. When Dan is invited to land, he is surprised to find that Lenor is his only flight companion.

At the resort, Dan is met by his owner and manager Jose Morro ( Philip Van Zandt ), asking the guest about his life. Then Dan meets investment banker Myron Winton ( Jim Backas ), who is relaxing in the resort, who invites Dan to a poker party. After Dan refused, Myron tells him about some vacationers, among them Martin Krafft, who spends time analyzing chess games and posing as a writer. Then Dan meets the popular Hollywood actor Mark Cardigan ( Vincent Price ), who has just returned from another hunt and invites Dan to hunt with him tomorrow. Dan, who liked Lenore, sees that she behaves like Mark's close friend and came specially to him. Returning to his bungalow , Dan accidentally hears in the street his two neighbors - Krafft and Thompson - discussing something related to him. Wanting to figure out what's the matter, Dan enters Krafft's bungalow, where he notices Thompson with a gun in his hand. Thompson gives Dan $ 10,000 and tells him to wait for further instructions from a man who should arrive at the resort in 24 hours. After Dan leaves, Thompson contacts someone on the radio , figuring out that the arrival is somewhat delayed due to the storm.

The next morning, Dan sees Myron flirting with Jenny Stone ( Leslie Banning ), a young American who came to the resort with her husband for a honeymoon. Then vacationers watch an adventure film in the cinema with Mark in the lead role, where he fearlessly fights with swords on a pirate ship. One of the musicians of the orchestra turns out to be an old acquaintance of Lenore. When they leave to talk in private, it turns out that Lenore used to be called Liz Brady, and she was a singer in one of the American clubs. Then she went to Europe for a while, and returning to America, she pretends to be a rich heiress in order to marry favorably. Some time ago, in Florida, she met Mark, who at that time was on the verge of a divorce with his wife, and decided to try to arrange her relationship with him. But, according to her, if this plan doesn’t work in two weeks, she will have to go to work again. Meanwhile, Dan, seeing Jenny upset, finds out that her husband Milton lost all their money to Myron in poker. Dan decides to help the girl and sits down at the gambling table, where, with the help of skillful cheating, helps Milton to fully recoup.

Dan learns from Morro that a certain Bill Lask ( Tim Holt ) should fly to the resort in a private jet. Despite the fact that the weather deteriorates sharply and Morro refuses to take the plane, however, the pilot does not listen to him. Returning to his bungalow, Dan ironed the money. Lenor, who comes in, asks, “Do not need to wet them first”, to which Dan receives an answer, that he always strokes money when there is nothing to do and his head does not hurt, where to get them. And when there is no money, he strokes his trousers. Complaining of boredom, Lenore says: “I’ll go iron the money,” to which Dan retorts: “You have too many of them.” Lenore says that Helen, the wife of Mark, will come tomorrow, which Mark does not know yet. When they met, Lenore thought that Mark was not married, since at that moment Helen had just left for Reno to file a divorce. At this moment, having heard the sound of a boarding plane, they go out into the street. Watching the risky landing of a small plane swaying from side to side, Dan says: “Nothing is impossible for fools,” to which Lenore replies: “And others do not try at all.” Provoked by these words, Dan kisses her. Meanwhile, from the cockpit of a boarded plane, resort employees retrieve a drunken Lask. The next morning, Mark's wife Helen ( Marjorie Reynolds ) and Mark's agent, Gerald Hobson ( Carlton J. Young ) come to Mark. Helen tells her husband that she decided not to get a divorce and restore their relationship. She is supported by Hobson, warning that the public scandal surrounding the romance with Lenore could negatively affect the conclusion of his new contract with the studio. Dan decides Lask has arrived to meet him. Entering his bungalow with Dan, Lask, who suddenly turns out to be completely sober, reports that he is a cop and an agent of the US government immigration service . He further says that he arrived to investigate the information that the mafia boss Nick Ferraro, who was sent to Italy four years ago, is going to return to the United States, posing as Dan. In external parameters, Ferraro and Dan are similar, in addition, Dan is lonely, never works anywhere, and therefore in the event of his disappearance, hardly anyone will look for him. According to Lask, Ferraro specially delivered to the resort Krafft, who is actually a plastic surgeon , so that he would make the face of the gangster as similar to the face of Dan. After hearing this information, Dan retires to his bungalow, where Lenore awaits him. They kiss again, and she, feeling that he is in trouble, wants to help.

In the dance hall, Mark dances with Helen, who admits that he does not love him, but declares that he loves only himself. According to her, earlier this did not stop them from living normally, and she is counting on a second chance. Dan and Lenore are sitting in a bar, Jenny comes up to him to say goodbye and kisses him in gratitude for the help. While Thompson plays poker with Myron, Lask enters his bungalow, where he discovers a hidden walkie-talkie . Thompson suddenly appears with a gun in his hand, and a fight begins between the two men. Some time later, when Dan and Lenore walk along the shore, they discover Lask's corpse in the water. Dan says the resort is becoming dangerous, and persuades Lenore to leave immediately. Returning to his bungalow, Dan encounters an armed Thompson awaiting him and two of his assistants. Dan claims that he is getting out of the deal and that Lasku, and therefore the police, knows everything, but the bandits demand that he immediately go with them to the ship Ferraro. At that moment Lenore knocks on the bungalow. At gunpoint, Dan tells her to leave immediately. Then the bandits take Dan out and put him on a boat. Realizing by the nature of the conversation that Dan was in trouble, Lenore comes to Mark asking for help. Mark, who is tired of posing as a hero only on the screen and really wants to prove himself in the present case, does not pay attention to the exhortations of his wife and his agent, and agrees enthusiastically to help.

When the boat is already sailing to the ship, Dan manages to break out of the hands of the bandits and jump into the water. Despite the persecution, he reaches the shore, where Mark with arms appears to help him. A skirmish begins between Dan and Mark on the one hand, and three bandits on the other. Having decided that until he gets rid of Ferraro, he will not be at ease, Dan leaves Mark alone with the bandits, and he goes on a boat to the ship. Having reached the ship, Dan rises to the deck and quietly takes one of the sailors into captives, demanding to lead him to Ferraro. However, sailors notice Dan and surround him in the engine room . During the shootout, hoping to escape from the pursuit, Dan intentionally shoots a pipe from which a powerful stream of steam begins to pour. However, the persecution of Dan continues, and soon he is seized, tied and taken to the cabin to Ferraro. The gangster accuses Dan of violating obligations, after which he and his henchmen brutally beat him, without touching his face, however, and then sends him to the engine room to repair the steam pipes. Once in a steam-filled engine room, a battered Dan falls and faints. Meanwhile, Mark, using his cinematic and hunting skills, systematically kills two bandits, and takes the wounded Thompson prisoner. Having dealt with the bandits, Mark collects a detachment from the representatives of the Mexican police and volunteers from among the vacationers, and leads him to capture Ferraro. Lenore, tells Mark that he loves Dan and asks to take her with him, but Mark tricks her into a closet.

Ferraro realizes that there is too much noise, and is going to escape on the ship, but before that he wants to shoot Dan. However, Krafft dissuades him, arguing that the face of a dead person will be very different from the face of a living person. And if they nevertheless undergo plastic surgery, Ferraro offers not to kill Dan yet, but to give him a strong dose of anesthetic , which will instantly render him helpless, after which he will develop amnesia and die in a year. At the direction of Ferraro, Dan is brought into his cabin, tied to a chair and tried to bring to consciousness. When Dan finally opens his eyes, Krafft has already prepared a syringe and is about to give an injection. At this moment, Mark’s squad, on his command, opens fire on the Ferraro’s ship from the boat. To hide from the shots, the ship's crew cuts off the light, after which Krafft is forced to try to inject in the dark. Mark is the first to break into the ship. On the deck between the people of Mark and the crew of the ship, a skirmish begins, turning into a collective brawl, during which Mark personally kills several bandits. Taking advantage of the moment, Dan breaks out of the hands of bandits and in a cabin Ferraro removes a pistol from the wall and finds a pack of cartridges. In the meantime, Mark takes command of a team preparing the escape of Ferraro on a boat. While Dan charges the gun, Ferraro prepares to shoot Mark. Noticing this, Dan distracts the gangster, and then hides from his shots. Seizing the moment, Dan jumps out of hiding and with a few shots kills Ferraro.

After the operation, Helen tenderly cares for Mark, who was surrounded by enthusiastic members of the press. When asked what weapon he killed Ferraro, Mark replies that this weapon was Dan. Lenore with a bottle of champagne enters Dan's bungalow, who is ironing his trousers, and in surprise asks: “What, did the money run out?”, Continuing: “You are a hero, they say that you killed Ferraro. How was it? ”, To which Dan replies:“ He did not tell me. ” Lenore continues: “Let's stroke it, you only know how to iron money”, admitting further that she is not a rich heiress, but the granddaughter of a hairdresser, and she is not in love with Mark. Dan asks: “You don’t love anything but money,” to which Lenore replies: “I love, and you?” He says: “You would be useful to me when there is no money” and hugs her. They kiss, forgetting about the iron.

Director John Farrow produced such significant noir films as The Big Clock (1947), A Thousand Eyes at Night (1948), Nick Nick Beale (1949) and Where the Danger Live (1950) ^[3] . Among the best works of Richard Fleischer in the film noir genre is “The Robbery of a Collector's Car ” (1950), “ Narrow Edge ” (1952) and “ Cruel Saturday ” (1955), his other best films include crime drama “ Violence ” (1959), The Boston Strangler (1968) and Rollington Place 10 (1971) ^[4] .

Actor Robert Mitchum is rightfully considered one of the main stars of the film noir, having played in 14 films of the genre, including “ Medallion ” (1946), “ From the Past ” (1947), “ Crossfire ” (1947), “ Big Deception ” (1949 ), Racket (1951), Angel Face (1952) and The Night of the Hunter (1955) ^[5] . As film critic Jeremy Arnold writes, “Farrow and Mitchum were friendly. A couple of years before they met at one of the social events, where they took part in a drinking contest. From such a favorable beginning, friendship was formed, which led to cooperation on the film noir “ Where Danger Lives ” (1950), followed by this film ” ^[2] .

In 1941, Jane Russell made her movie debut on the Outlaw Western, which gained fierce fame after the Production Code Administration refused to allow it to be hired due to Russell's too open neckline and frank demonstration of her female virtues. Hughes , who was the producer of the film, waged a stubborn struggle to get the film shown. As a result, in 1943 the film hit the screens, but a week later the censorship authorities again shot it. In the end, the film was released in wide distribution only in 1946, becoming a box office hit. From 1941 to 1946, Russell did not star in any film. In the future, the most memorable films with the participation of Russell became the film noir “ The Case in Las Vegas ” (1952), the romantic comedy “ Gentlemen Prefer Blondes ” (1953) and the Western “ Tall People ” (1955), as well as three comedies featuring Bob Hope at the turn of the 1940-50s ^[6] . Arnold writes that “Hughes originally intended to shoot Mitchem with Russell in a series of films, like the Bogart - Bacall pair, but in the end they played together just once in the movie Macau , which was finished in 1950 and also lay on a shelf for more than a year before being released in 1952 ” ^[2] . As the critic notes: “Before the start of the Macau shootings, the eccentric Hughes wrote a memorandum to the studio manager with special instructions on what type of bras and costumes the actress should wear:“ I want her wardrobe, where possible, to have a neckline as deep as the law allows, so that clients can see the part of Russell for which they pay money for contemplation, "wrote Hughes" ^[2] .

In the autobiographical book “Just Tell Me When to Cry,” director Richard Fleisher writes that in 1948 the film was almost finished and was at the post - production stage. At that moment, Howard Hughes ^[7] bought RKO Pictures Studio, who, after seeing the footage, asked Fleischer to change and reshoot the ending, hoping that it would take 10-14 days ^[8] . Film critic David Hogan notes that “the difficult climax on board the yacht was invented by three people who, ironically, were not mentioned in the credits - Hughes himself, screenwriter Earl Felton and contract director Richard Fleisher. Hughes wanted a longer and more exciting climax than the one created by screenwriters Frank Fenton and Jack Leonard and director John Farrow. Fleischer agreed to re-shoot only after Hughes promised to remove the film “ Narrow Edge ” long-completed by him from the shelf and put it into rent ” ^[9] .

Negotiations between Hughes, Fleischer and Felton to finalize the script lasted for several months, as a result of which the climax action scenes on the yacht were added ^[10] . As the scenario changed, the yacht, which was the main action site, gradually grew to a 150-foot ship with equipped interiors ^[11] . In order to install it, the studio’s largest shooting pavilion was used, in which a very large water pool was specially built ^[12] . In addition, a scene with a sinking rowing boat was added. This required that the pool was drained, partially rebuilt and deepened, so that the boat could drown in it completely with the people standing in it ^[13] .

After two months of additional filming and another month of editing, 1 hour 20 minutes of new material was added to the film. When Hughes looked at him, he did not like the actor who played Ferraro, and he commissioned a re-shoot of this character's scenes with another actor. After a thorough search and screen tests for filming, Robert J. Wilk was selected. With Wilk, I had to re-shoot almost all the scenes of the new material and several scenes from the original version ^[14] . When the second filming was already carried out in three quarters, Hughes saw Raymond Burr in one of the films, which made such a strong impression on him that the producer ordered once again to shoot all the scenes of Wilk, replacing him with Burr ^[15] .

In total, the shoot cost about 850 thousand dollars - which is approximately equal to the amount of loss of the film at its initial rental in 1951 ^[16] . Hogan writes that “the audience liked the film, but the excessive cost of the filming led to a total loss of 800 thousand dollars. However, Hughes did not stop this, and he acted wisely, keeping Mitchem and Russell in the studio until the full expiration of their contracts. And they, for their part, remained faithful to their eccentric employer ” ^[17] .

Overall rating of the film

The film received positive ratings from critics, paying particular attention to its unusual genre character. Film critic Speser Selby called the picture “a strange noir show that has great depth and meaning for a film that sometimes comes to the brink of self-parody ” ^[18] . TimeOut magazine rated the picture as “an extremely unusual piece from the RKO studio, the plot of which begins with a completely understandable noir thriller, and somewhere in the middle turns into a surreal parody”, further indicating that “it resembles a dense, cruel thriller, interspersed with blotches from Monty Python’s team, which can hardly be held together. But he is perfectly played and staged, and remains an unforgettable pleasure ” ^[19] . Dennis Schwartz also writes that this is “a strange ironic crime thriller, full of improvisation, which departs from the plot of the traditional film noir and tries his hand at comedy” ^[20] .

Film critic Jeremy Arnold believes the film “could be a disaster, but it is amazingly entertaining. This film is noir in style, but it is as eccentric as it is tense. ” The critic further notes: “His comedy is obscene and messy thanks to the memorable tricks of Vincent Price , his melodrama and violence are overwhelming, his sexual hints are scattered everywhere, and in addition he includes three songs performed by Jane Russell , summarizing that“ somehow insanely, all this is held together for more than two hours of screen time ” ^[2] . Michael Keeney expresses the opinion that “the film certainly deserves the status of an eccentric classic thanks to amazing acting, especially Burra , who is simply magnificent in the role of a sadistic gangster with wild eyes, and Price in a lively and cheerful self-parody,” further noting that “when you ready to give up because of too slow pace, witty remarks and eccentric humor will lure you back. It’s necessary to tolerate a little, but if you are hooked, then you will remain on the hook ” ^[21] . Hogan, calling the picture “a dish of Farrow of fictional personalities, violence, horror and laughter” ^[22] , notes that “a film lasting 120 minutes is too long for noir, but its energy does not fade for a moment” ^[17] . On the other hand, Linda Rasmussen, calling the picture “a confused detective thriller,” notes that he “unsuccessfully tries to combine farce with exorbitant violence” ^[23] .

Genre and some other features of the film

Assessing the genre features of the picture, Craig Butler writes: “It is difficult to say with certainty what type of film this is. Technically, this is a film noir, combined with a comedy of a satirical plan, but this is only the beginning in its description. ” In addition, “this is a fascinating and undeniably entertaining picture, despite the fact that its individual components do not fit together, and something in it is not so good” ^[24] . According to Butler, much indicates that “the dual nature of the film is due to Howard Hughes intervening, and that seems to be true. Without Hughes, the film would probably be a traditional noir, and in that capacity it would probably be better - but it would not be the completely unusual movie production that it eventually became ” ^[24] . Butler further notes that the “cool” parts of the film are really cool; the plot does not always make sense, but director John Farrow (with Richard Fleischer not reflected in the credits) saturates his serious moments with suspense and drive. The comedy in this film is wild and eccentric, it is led by Vincent Price in one of his undoubtedly most amazing and overwhelming roles. " And the last third of the film is especially “extravagant, where Price’s increasingly unbridled comic approach constantly contrasts with the episode of Mitchem’s sadistic torture” ^[24] .

According to Theodoros Panayides, “this may be the film that most closely matches Mitchem, the film closest to his relaxed personality type: in this film, almost nothing makes sense, everything falls apart - and nobody cares. This is a series of loosely interconnected elements of the film noir, exotic melodrama and almost abstract paths that give pleasure on their own ” ^[25] . “TimeOut” notes: “Mitchum said that a lot of things in this film arose directly during the work, in particular, such scenes as ironing of dollar bills and many impromptu exchanges of remarks with Russell were saturated with the spirit of spontaneity” ^[19] .

Evaluation of the work of the director and creative team

Schwartz believes that "Frank Fenton and Jack Leonard wrote a witty script, and John Farrow skillfully put on" this film ^[20] . Arnold also praised the director's work, pointing out that “Farrow (and Richard Fleischer, not listed in the credits) copes well with the poor criminal material. The scene in which Mitchem is stripped to the waist, brutally beaten and tied up, after which they are going to introduce a dangerous medicine, is written excessively cruelly, however, Fleischer's choice of the lighting solution and the camera angles makes it exciting and magnificent. This scene must be seen in order to believe in it! ” ^[2] . Hogan drew attention to the camera work of Harry J. Wilde , who, working in the pavilion, skillfully imitates both sunlight and a clear night that conveys an oppressive mood ^[17] .

Assessment of acting

Variety Magazine believes that “both Mitchum and Russell play very strongly. The delights of Russell in full are alluringly demonstrated in bold costumes with minimal cover. ” In addition, “scenes with the participation of Price play an important role, which allow you to relax from the otherwise tense film” ^[26] .

Hogan points out that "the film is pleasing for a number of reasons." Firstly, “the easy mutual play between Mitchem and Russell - which were the greatest assets of RKO studio and the pair ideally suited for each other - gives the film a sexy and laid-back charm. Tall and broad-shouldered, they feel free in their bodies and in communication with each other ” ^[22] . Secondly, “Vincent Price is magnificent in the role of Cardigan, a popular but comic movie star of adventure action movies, this is one of the most attractive images in the film, filled with people who are not who they say they are” ^[27] .

Mitchum, according to Kini, “with his sleepy eyes and as usual indifferent” ^[21] , as Schwartz believes, “feels perfect in the role of a single antihero, and Russell is ideally suited for the role of an energetic“ woman of his dreams “” ^[20] . Butler believes that “Mitchum was ideally suited for the role, he very successfully uses his laconic inner style. As well as Russell, dressed in outfits, emphasizing her deep neckline at every opportunity, which also gives a more than worthy game " ^[24] . According to Arnold, “the voluptuous, sultry Jane Russell” was described by one critic as “a towering, pacing, swaying concentration of beautiful flesh that breaks out of specially designed revealing costumes, especially from a black swimsuit that is barely noticeable.” Indeed, the actress shows a wide panorama of countless tight-fitting costumes, which, although entertaining, is at the same time the result of Howard Hughes’s infantile passion for her deep neckline " ^[2] .

As TimeOut notes, “the funniest thing in the film, however, is Price as the crazy smug actor who parodies gushing with quotes from Shakespeare even in the most dangerous moments” ^[19] . Schwartz writes about the same thing: “Price’s role is priceless as a vain actor who quotes Shakespeare in times of danger” ^[20] . Arnold believes that “Price enjoys the moment of his life, creating the image of a replaying actor in one of the most ridiculous and unexpected roles in his career. When Hughes saw what Price does in his role, he liked it so much that he added several more comedic episodes to the actor ” ^[2] .

• Richard Fleischer. Just Tell Me when to Cry: A Memoir . - New York: Carroll & Graf Publishers, 1993 .-- ISBN 978-0-8818-4944-8 .
• Spencer Selby. Dark City: The Film Noir . - Jeffeson, NC and London: McFarland & Co Inc, 1997 .-- ISBN 978-0-7864-0478-0 .
• Michael F. Keaney. Film Noir Guide: 745 Films of the Classic Era, 1940–1959 . - Jefferson, North Carolina, and London: McFarland & Company, Inc., Publishers, 2010 .-- ISBN 978-0-7864-6366-4 .
• David J. Hogan. Film Noir FAQ: All That's Left to Know About Hollywood's Golden Age of Dames, Detectives, and Danger . - Milwaukee, WI, USA: Hal Leonard Corporation, 2013 .-- ISBN 978-1-4803-4305-4 .

• The woman of his dreams on the IMDB website  
• The woman of his dreams at Allmovie  
• The woman of his dreams on the site of the American Film Institute
• The Woman of His Dreams at Turner Classic Movies
• The Woman of His Dreams YouTube Movie Trailer