Film Review: River of No Return (1954)

“High concept” films are not a novel phenomenon in Hollywood, and examples can be found in the relatively distant past. One such example is River of No Return, a 1954 western directed by Otto Preminger.

The plot is set in the Northwestern United States in the mid‑1870s and follows the journey of Matt Calder (played by Robert Mitchum), a rugged frontiersman. It begins at a trading post where Calder, after years of absence, comes to reunite with his young son Mark (played by Tommy Rettig), whose mother has died. Thanks to recently discovered gold, the post has turned into a rowdy boomtown, but Mark has had the fortune to befriend the sultry saloon singer Kay Weston (played by Marilyn Monroe). Calder is happy to take Mark to his nearby farm where the two of them start a new life.

They meet Kay again when she accompanies her boyfriend, the crooked professional gambler Harry Weston (played by Rory Calhoun), on a raft which Harry is using to attempt to reach the city to file a claim won at the card table. Calder rescues both of them, but Weston uses the opportunity to beat him up and steal his horse and rifle, with Kay deciding to stay behind. With Indians on the warpath and without a rifle to defend his farm, Calder sees no choice but to take the raft and, together with Mark and Kay, go down the treacherous river, facing rapids, Indians, wild animals and some uncomfortable revelations about his own violent past.

Originally envisioned by Louis Lantz as a sort of remake of the Italian neorealist classic The Bicycle Thieves, the script underwent a significant transformation under Frank Fenton’s pen. A typically Hollywood treatment included a shift to the Western genre, a happy ending, and, most importantly, the addition of a major female character played by Marilyn Monroe, who was the emerging star at the time. This allowed not only for a romantic subplot and Hollywood glamour, but also the opportunity for Monroe to sing a number of catchy songs.

The blend of genres within River of No Return, as in many such “high concept” films, doesn’t quite work. Otto Preminger directed the film out of contractual obligations and never felt at ease with westerns. His discomfort with the genre is palpable, reflected in certain action sequences that lack the desired impact, such as Calder's confrontation with Indians on the raft. On the other hand, River of No Return holds the distinction of being one of the first Hollywood films to use squibs during a shooting scene. The scene appears at the very end and the effect is hardly noticeable, mainly due to the heavy censorship standards of the Hays Code.

The film ultimately benefits from stunning visuals captured in the Canadian Rockies and Idaho locations. The expansive landscapes, coupled with the widescreen Cinemascope format, imbue the film with a grandeur that elevates its status as one of the first “proper” westerns. Another of the film’s strengths is its ensemble cast. Child actor Tommy Rettig delivers a commendable performance, while Marilyn Monroe, despite her insecurities and acrimonious relationship with Preminger on set, portrays Kay Weston with a delicate balance of vulnerability and allure. Her on‑screen chemistry with Robert Mitchum, rooted in their knowing each other before they were actors, adds a lot of depth to the film and makes the audience ignore some of its obvious shortcomings.

While River of No Return did not create much enthusiasm among critics, it had massive success at the box office. Both Preminger and Monroe weren’t happy with the film, the latter describing it as the worst of her entire career. Despite that, it is a classic example of Hollywood craftsmanship and a mostly entertaining piece of cinema that could be recommended even to contemporary audiences.

RATING: 6/10 (++)

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