Robert Mitchum-Signature Collection (2006)

"[Sun] A terrific period piece...  Classic Film Guide
"[Macao] ...wonderfully tongue-in-cheek...Jane Russell enthralls...  Dennis Schwartz, Ozus' World Movie Reviews
"[Angel] ...a noir gem.  Eddie Muller, Dark City
"[Home] ...very entertaining and a great opportunity to see some superb acting.  Epinions.com
"[Yakuza] ...strongest point of this film is the writing...some excellent camera work...  Mike Lorefice, Raging Bull
"[Good] Both Mitchum and Kennedy imbue their roles with sound values.  Variety

Editor's Note This collection of Robert Mitchum movies includes the following titles: ANGEL FACE, THE GOOD GUYS & THE BAD GUYS, HOME FROM THE HILL, MACAO, THE SUNDOWNERS, and THE YAKUZA. Please see individual titles for synopsis information.

	Brian Keith
	David Carradine
	Deborah Kerr
	Eleanor Parker
	George Hamilton
	George Kennedy
	George Peppard
	Gloria Grahame
	Glynis Johns
	Herb Edelman
	Herbert Marshall
	Jane Russell
	Jean Simmons
	Ken Takakura
	Mona Freeman
	Peter Ustinov
	Robert Mitchum
	Tina Louise
	William Bendix
	Burt Kennedy - [Good] Director
	Fred Zinnemann - [Sun] Director
	Josef von Sternberg - [Macao] Director
	Otto Preminger - [Angel] Director
	Sydney Pollack - [Yakuza] Director
	Vincente Minnelli - [Home] Director

Variety 8 of 10
[Home] A full-blown melodrama, high-octane in situation and characters, Home from the Hill is like an over-taxed engine. The production throws a plot rod or two in its final moments, but when it is concluded the spectator is at least aware he has seen something...Vincente Minnelli's direction is rich and satisfying...Mitchum delivers his strongest performance in years, and Parker handles her end of the conflict well, too, although her role is less interesting. But it is Peppard, from the NY stage, who shines through.

Dale's House of Pancakes and Halibut 8 of 10
[Sun] Once upon a time, long before Crocodile Dundee and Mad Max, back before Peter Weir and Nicolas Roeg, if people thought about movies, they certainly did not think about Australia. The continent down under did not produce movies that were successful in the rest of the world, nor did Hollywood make movies about Australia. Fred Zinnemann's The Sundowners was the first major film with an Australian setting and plot...the performances, particularly Glynis Johns', are so appealing that one can't help but like The Sundowners. It is no masterpiece, to be sure. In fact, if anything, it is overly long and lacking in cohesiveness and plot thrust. At its best, however, it brings a smile to the face. - Dale G. Abersold

DVD Beaver 9 of 10
[Angel] Diane (Jean Simmons) is the daughter of wealthy Charles Treymayne (Herbert Marshall). She has an angelic appearance that masks an unbridled psychotic personality who'll let nothing stand in the way of her perceived happiness...This lost Film Noir directed by Otto Preminger in 1953 marks a stunning character turn for actress Jean Simmons, who was normally cast for her innocent looks and charming nature. Here she plays a cold-blooded psychopath, nearly on par with co-star Robert Mitchum's 'Max Cady' in Cape Fear. - Herb Kane

Chicago Sun-Times 7 of 10
[Good] Robert Mitchum has never won an Oscar, and most people who pretend to be serious about movies overlook him in their lists of great actors. But he has an extraordinary manner. He brings an easy, lazy authority to a role. You can't imagine him on a stage; he's a creature of movies, inhabiting all those B-grade RKO Radio Pictures from our memories of the 1940s...there are good character roles for Martin Balsam, Tina Louise and Marie Windsor earlier along the road. But Mitchum eventually has to carry the picture, as he has carried so many before, and his scenes work even when they shouldn't. - Roger Ebert

Epinions.com 8 of 10
[Macao] My expectations for the 1952 Orientalist noir "Macao" were not very high, athough I think that Josef von Sternberg's "Shanghai Express" (1932) may be the most romantic movie ever made...There are two lengthy and exquisitely composed chases in a harbor that is supposed to be Macao's (I'm pretty sure that any footage from Macao only appears in back projection and that the film was shot in the RKO studio)...The look of "Macao" is not exactly cinema noir and the exotic(ized) location is not typical of the genre, but crime and corruption are certainly central to the plot of "Macao" (if anyone can care about its plot...). It is not really fatalistic enough to be cinema noire, either, and I've already noted that Jane Russell's part is not that of a femme fatale. - Stephen O. Murray