Have enjoyed several of your pieces (still dipping in and out of the Book). Agree about The Lusty Men — it may have some Hughesian features built into basic the story but it’s a gloriously sensitive work from all concerned, and something about the working environment must have been very conducive to Ray’s temperament.

I don’t know why Vendetta doesn’t turn up, since all the other RKOs of that period seem to circulate freely, good, bad or indifferent.

I’ve seen most of the films you mention–THE LUSTY MEN is one of my favorite movies of all time and I think the Wald/Krasna production unit (as with CLASH BY NIGHT directed by Fritz Lang) may have created a more ideally creative atmosphere for a director than some other Hughes films. To me, it is a Nicholas Ray movie which
does represent that director ideally. I also wrote a LITTLE BLACK BOOK entry on this, focused on Mitchum, and hope someone found that of interest at too.

The Hughes production I haven’t seen and very much want to is the fabled VENDETTA
discussed above–that string of directors is kind of fascinating in itself.

Just to add I’ve now added your Blog to Favorites.

As for His Kind of Woman it’s famous for Hughes decision to spend zillions on building a new set on the RKO lot especially for it. That plus a sign on the corner of Fairfax and Wilshire which was designed to periodically shoot flames over the image of Russell and Mitchum. They’re so HOT you see.

The sign never worked.

Jonathan Demme’s Melvin and Howard is another fine post-Hughes yarn.

Hmm, I have Where Danger Lives but can’t recall a thing about it. Maybe time for a re-showing.

Also I must mention Where Danger Lives also directed by Farrow and starring Mitchum. One of my favourite RKO film noirs, some brilliantly nightmarish lighting.

Howard Highes was genuinely strange. A mixture of wild sophisticated (eg. this film which went into production under the title Murder Story) and unrestrained vulgarity. That he wanted Sternberg to work for him shows his sophisticated side. That he didn’t know what to do with him shows his vulgarity. Sternberg and Jane Russell come from different planets.

In many ways Nick Ray was ideal for him. But even Ray balked at I Married a Communist.

F For Fake, The Aviator and F For Fake Lite (ie. The Hoax) show the long shadow Hughes cast will linger for some time to come.

That ending is amazing. Not just the deaths, but the cab showing up and honking its horn at the empty house. How utterly bleak!