The concept of the "noir western" is unthinkable without Robert Mitchum. Mitchum, who started his career as a heavy in B westerns and went on to be hailed as the "soul of film noir" for his world-weary cynicism and cool, doomed aura, defined the hybrid genre in 1947 with PURSUED, then followed with BLOOD ON THE MOON. The plot is essential noir: a man down on his luck is summoned by an old partner and cut in on a big deal; when he finds out that the deal is crooked and his friend is an irredeemable louse, he has to decide whether to accept his slide into corruption or fight to maintain his honor. The scheme just happens to involve cheating a man out of his cattle herd instead of some urban racket. The cinematography is literal noir; at least half the scenes take place at night, in a murk that rather obviously symbolizes the difficulty of seeing anyone's true nature.

None of the western clichés are here: there are no rowdy dance-halls or rip-snorting brawls or comical drunks, no steely sheriffs or white-hatted good guys. The mood is somber, tense and ambiguous, but the film does satisfy the requirements for a western: there are cattle stampedes, a savage fight, a gun battle and beautiful sweeping landscapes, including stunning scenes in a snow-bound pass, the white drifts sliced by the tracks of men and horses. All of the performances are restrained and natural. Barbara Bel Geddes and Phyllis Thaxter, as the daughters of the cattle baron targeted by the scheme, both avoid the glossy glamour that so often makes actresses look out of place in westerns. Bel Geddes is appealingly fresh, and does a good job with a character who starts out as a hostile spitfire in pants (she and Mitchum "meet cute" by shooting at each other) and then morphs into a gentle healer in a dress. Robert Preston is perfect as Riling, a smirking cad with an oily face and a plaid jacket; his former partner Jim Garry (Mitchum) sums him up with the classic line, "I've seen dogs that wouldn't claim you for a son." Walter Brennan adds seasoning as usual, this time poignant rather than comic.

Mitchum makes a beautiful cowboy with his long hair and elegantly rugged attire, at once authentic (on seeing Mitch in costume Walter Brennan reportedly declared, "That is the goddamnedest realest cowboy I've ever seen!") and romantic. In one scene he confronts a gunman on a wide, dusty street and walks towards him—that's all he has to do, just walk towards him and the guy knows he's outclassed. (Mitchum's panther walk is one of the glories of cinema—I would love to watch a whole movie of nothing but Mitchum walking.) I don't think Jim Garry smiles once (though he comes close in a gentle scene where the heroine, tending to his injured hand, asks about his fight with Riling, and he answers, "It was a pleasure.") He conveys a profound inchoate sadness, but as always he uses dry humor to keep emotion at bay. He's contained, laconic, defended. Not merely stoic, he's strangely passive, willing to let things go; his strength is tinged with melancholy because he can "take it," but he also feels it. Lee Marvin (Mitchum's one-time co-star) said it well: "The beauty of that man. He's so still. He's moving. And yet he's not moving."

Mitchum is mesmerizing because you sense so much going on behind the cool, impassive facade. It's partly his film-style acting, which happens under the surface, not on the surface. But under-acting can't fully account for his mystery. There's something fundamentally inaccessible, unknowable about Mitchum's characters, and this is what makes them so real. You never feel they are underwritten or inconsistent; instead you feel he's a whole and complex person who can never be fully explained. Despite his much publicized contempt for most of his work, Mitchum brings this tremendous gift to the slightest and shallowest of movies. BLOOD ON THE MOON, however, is worthy of him.

Blood on the Moon is directed by Robert Wise and is adapted from a Luke Short story by Lillie Hayward and Harold Shumante. It stars Robert Mitchum, Barbara Bel Geddes, Robert Preston, Walter Brennan, Phyllis Thaxter, Frank Faylen, Tom Tully and Charles McGraw. Music is by Roy Webb and cinematography by Nicholas Musuraca. Story has Mitchum as drifting cowboy Jim Garry, who after receiving a job offer in the mail from old acquaintance Tate Riling (Preston), finds himself pitched in the middle of a war between cattle ranchers and homesteaders.

Effective and tightly crafted Western that has garnered many favourable remarks, due in the main to its ability to veer away from formula suggested by the plot and the technical film noir touches brought about by the great Musuraca. With Mitchum turning in one of his great screen dominating performances, film is driven forward by the psychological aspects brought about by thematics such as duplicity, split loyalties and moral quandaries. Director Wise does a good job of pacing the film, keeping it on the slow burn whilst dialling into Jim Garry's mindset, and picture is further boosted by a great knuckle fight and a rip-roaring siege shoot out at the end. But it's the mood created by Musuraca and Wise that is the real winner. With the film set 90% at night or in darkened rooms, shadow play is high and an oppressive feel adds weight to the psychological clocks ticking away in the narrative. In support of Mitchum, Geddes does spunky cowgirl well, while the presence of Brennan, Faylen and the gravel voiced McGraw is keenly felt.

Good story, well acted and visually potent. 7/10

This is perhaps the greatest of the noir westerns. Director Robert Wise had been in charge of the mythical "The Curse of the Cat People," not a sequel to the horror classic, "Cat People," as the studio expected, rather a fantasy film highlighting the imagination of a little girl.

Working with darkness and shadows emphasizing the mood of the picture makes "Blood on the Moon" seem gloomy and pessimistic, but actually the film is more about the redemption of a hopelessly lost cowboy, Jim Garry (Robert Mitchum), who finds meaning in life through the love of a woman, also named Amy (Barbara Bel Geddes) as was the little girl in "The Curse of the Cat People." The opposite of Jim Garry is his so-called pal, Tate Riling (Robert Preston). Rather than redemption, Riling falls deeper and deeper into the maelstrom of depravity, murder, and deception. Even his romance with Amy's sister, Carol Lufton (Phyllis Thaxter), is a treacherous, deceitful one. Riling uses Carol for his advantage, at times against her own family, while she is truly in love with him. Riling has few redeeming qualities and is bad through and through. The relationship between the two, Riling had actually invited Garry to join him, knowing what an expert he was with a gun, is the crux of the film. The story about the feud between the homesteaders, pawns for Riling, and the ranchers is a superficial one. Character studies make the movie worthwhile.

Walter Brennan as Kris Barden, a homesteader fooled by Riling for awhile, has a pivotal role showing how Riling's double dealings and egomania eventually catch up with him and destroy him. "One may smile, and smile, and be a villain" only so long. Barden is a counterpart to Garry's character. Frank Faylen, as Indian agent Jake Pindalest, in collusion with Riling's schemes for self-aggrandizement, on the other hand represents a counterpart to Riling's character.

The title is one of the best ever for a western. Supersitition has it that when there is blood on the moon (a particular atmospheric appearance of the moon), it's a sign that someone is going to be killed. When I was a boy one of my friend's dads operated a movie theater. He had accumulated a closet full of movie posters over the years. One day he was cleaning out his closets and asked me if I wanted the old posters. I eagerly latched on to them. Two posters impressed me above all the others. One was " The Grapes of Wrath" poster; the other was the "Blood on the Moon" one. Something about those titles and the art work on the posters grabbed my mind and my imagination. I didn't get to see either film for many years, eventually seeing them on TV. To me the magic of the posters matched the magic of the movies.