Robert Mitchum was cooler than cool. He didn't have to fake a thing, or seem to do much in the way of going into anything too emotional. That took work though, or at least to get to where not looking like you gave a damn was totally natural.
Look how he looks head on to those mobsters and the cops here - it's a classic example of going the distance by stripping down a performance to appearing to be just himself - but it helps his voice was about perfect for his physical appearance, and he modulates that while he keeps his face smooth so that one looks at his (fiercely intelligent) eyes. Sometimes, there's a man etc.
As for what it's about? "Small-time" criminal folks who are nothing but honorable men within what they do, as Luke is here and those who know what he's up to against Kogan, up against a Machine of money that is out to knock him out. I don't know it Mitchum, in his only writing credit of his great career, thought in the ways of seeing already in the mid 1950s that a total rebel Whiskey Runner/bootlegger trying against all odds to do his thing in an environment where an Organization is set to wipe him out with the cops licking their chops to get everyone for Capitalists to come in to make things "Legit," thought in terms of social commentary.
Maybe it wasn't conscious, but I suspect there must have been something of Someone Doing it His Way (and not being a total ass about it) that is there in a real Rock and Roll sense, hence why Presley wanted the Robin role and Springsteen later on of course. Like its central character, it's a film that flies, drives, in the face of authority. But if all you're looking for is thrills and tough personalities the filmmakers get it done.
Thunder Road isn't particularly deep, but it is propulsive, muscular, sharply directed, and it serves as a good bridge between classic Film Noir and the B movies of the 60s and 70s. I bet Corman wishes he had made it, or had the several extra thousands Mitchum got together from UA.
Look how he looks head on to those mobsters and the cops here - it's a classic example of going the distance by stripping down a performance to appearing to be just himself - but it helps his voice was about perfect for his physical appearance, and he modulates that while he keeps his face smooth so that one looks at his (fiercely intelligent) eyes. Sometimes, there's a man etc.
As for what it's about? "Small-time" criminal folks who are nothing but honorable men within what they do, as Luke is here and those who know what he's up to against Kogan, up against a Machine of money that is out to knock him out. I don't know it Mitchum, in his only writing credit of his great career, thought in the ways of seeing already in the mid 1950s that a total rebel Whiskey Runner/bootlegger trying against all odds to do his thing in an environment where an Organization is set to wipe him out with the cops licking their chops to get everyone for Capitalists to come in to make things "Legit," thought in terms of social commentary.
Maybe it wasn't conscious, but I suspect there must have been something of Someone Doing it His Way (and not being a total ass about it) that is there in a real Rock and Roll sense, hence why Presley wanted the Robin role and Springsteen later on of course. Like its central character, it's a film that flies, drives, in the face of authority. But if all you're looking for is thrills and tough personalities the filmmakers get it done.
Thunder Road isn't particularly deep, but it is propulsive, muscular, sharply directed, and it serves as a good bridge between classic Film Noir and the B movies of the 60s and 70s. I bet Corman wishes he had made it, or had the several extra thousands Mitchum got together from UA.