Out In The Film Noir Night- Dashiell Hammett’s The Maltese Falcon  

 

Films In Brief

The Maltese Falcon, written Dashiell Hammett, starring Humphrey Bogart, Mary Astor, Sidney Greenstreet 

In literature and film there have been no lack of private detective-types depicted from the urbane Nick Charles (also a Hammett creation) to Mickey Spillane’s rough and tumble Mike Hammer but the classic model for all modern ones is Dashiell Hammett’s Sam Spade (the Humphrey Bogart role in the film) in The Maltese Falcon. Some may argue Raymond Chandler’s Phillip Marlowe and may have a point but as for film adaptation Spade wins hands down. Compare, if you will, Bogart’s performance in The Maltese Falcon with The Big Sleep. Get my point. But enough of that. What make’s Spade the classic is his intrepidness, his orneriness, his dauntless dedication to the task at hand, his sense of irony, his incorruptibility, his willingness to take an inordinate amount of bumps and bruises for paltry fees and his off-hand manner with the ladies and a gun. And in The Maltese Falcon he needs all of these qualities and then some.

And for what? It is the bird, stupid. You know the stuff that dreams are made of. This modern tale of greed and desire gets nicely worked with a cast of adventurers, including Sam’s love interest, who are serious, inept, and ultimately dangerous. There is a certain amount of off-hand humor as is warranted by some of the situations thrown in to boot. Sam is well up to handling everything thrown at him by his male adversaries. But, the dame (played by Mary Astor in the film), that is a different question. She is as greedy (if not more so) than the rest but she is ready to use her feminine wiles on even the incorruptible Spade in order to get that damn bird. That, dear friends, puts her beyond the pale and she will have many a lonely night in prison to think through the error of her ways. In the end Sam’s honor and the honor of his profession is intact, and that’s what counts.

 

 

 

Out In The Film Noir Night- Ernest Hemingway’s To Have And To Not

 

Films In Brief

To Have Or To Have Not, based on Ernest Hemingway’s novel, starring Humphrey Bogart, Lauren Bacall, Walter Brennan  

A story based, very loosely based I might add, on Ernest Hemingway’s short novel. A screenplay written in part by William Faulkner. The lead roles played by the charismatic Humphrey Bogart and the dishy Lauren Bacall with able assists by Walter Brennan and the legendary songwriter Hoagie Carmichael. Some classic Hollywood lines. What is not to like about this 1940’s black white film that still plays well after over fifty years. Only if you naively expected faithfulness to the author’s novelistic intent by those who bought the film rights would you complain. But, don’t be silly it happens all the time. If you want Hemingway’s gritty tale of a down and out sea captain scratching out a living for his family anyway he can go read the book. Here we are talking about the film adaptation. And on those terms what a seamless piece of cinematic art.

As is the case in most of the early movies the story line is simple. Jaded boy meets slightly world-weary girl in the throes of Vichy-administered Martinique during World War II. Naturally, given the times, the local variant of the French Resistance is in need of help and a skittish, but in the end courageous, Captain Morgan (the Bogart role) is dragged into the middle of it. Some of this is an echo of the story line in Casablanca but this time Bogart, thankfully, does not let the dame go. All the politics and heroics aside this film is all about the romance. For a 1940’s film the sexual tension and resolution between Morgan and Slim (Bacall’s role) is as steamy as it gets with two people who still have their clothes on. It probably does not hurt the romantic buildup that Bogart and Bacall were an item off-screen, as well. If you want classic Bogart and Bacall this is for you.

Film Noir Shorts- The Big Sleep- Bogie and Chandler- A Natural

 

I admit to being a film noir fan of long standing. Maybe it was the fact of growing up in the time of black and white television and watching all those late night movies which were freely available at the time. Maybe it was that tight, if improbable, dialogue, the relatively simple plots and the dramatic effect of the shadows of black and white photography on mood. In any case, The Big Sleep fits nicely into that mix. The plot line is fairly simple- Out in 1930’s California an old man with two young wild daughters mixed up in who knows what is looking for his old surrogate drinking companion (an Irishman, naturally)  who is missing- enter Phillip Marlowe, gumshoe extraordinaire, who will go through hell and high water to find him dodging bullets, blackjacks, gangsters, crooked cops and meaningful glances from the daughters in order to satisfy his client’s wishes. Intrepid, this Marlowe. Of course, as always the real guilty parties will have to face justice, some kind of justice. That is Marlowe’s way, as well. In any case one should read Raymond Chandler’s book by the same name, that this movie is based on, to get a better feel for the language, his original plot, and better insight into the motivations of the parties. This movie was remade in color in the 1980’s and is probably truer to Chandler’s designs but this Bogarted version is the definitive Big Sleep.

 

From The Pen Of Joshua Lawrence Breslin- Humphrey Bogart’s Dead Reckoning- A Film Review

Click on the headline to link to a Wikipedia entry for the Humphrey Bogart film noir Dead Reckoning

DVD Review

Dead Reckoning, starring Humphrey Bogart, Lizabeth Scott, Columbia Pictures, 1947

Hey, Humphrey Bogart is no stranger to femme fatales, no stranger at all, heart of gold or heart of steel. He takes them where he finds. Like bewitching Lauren Bacall in their hot as it gets with clothes on, 1940s style sex sizzler, To Have Or To Have Not. Or Mary Astor and her bird dreams of gold fetish (and not above wasting more than a few guys with a few indiscreet slugs if they get in the way) in the film adaptation of Dashiell Hammett’s The Maltese Falcon. So old Bogie has certainly been around the block with some funny- thinking dames. Still he should have steered about eleven blocks clear of one Coral Chandler (played by husky-throated, pleading eyes daddy please just shot that guy for me please, Lizabeth Scott) and her, well, trigger-happy ways as put on display in the film under review, Dead Reckoning .

As it turns out this is not the first time Ms. Scott has tried to put a slug, or six, in more than one guy who got in her way. In a recently reviewed film noir in this space, Too Late For Tears, she played sweet Jane Palmer as a homicidal femme fatale with a big time lust for gold. But there she at least varied her routine up a little by just poisoning one guy (and probably driving another guy, her first hubby, to suicide). Here she has the six-guns blaring away. And still, to the very, very end guys were lining up, lining up with a grin on their faces just to get a whiff of that jasmine perfume . Jesus.

Let me explain a little why she had them running through hoops. Coral, a girl from the wrong side of the tracks, the hard Detroit tracks, stepped up a little in class and married a guy for his dough (no big deal there, gals, and guys, have been doing that since about the Stone Age), But she got tired of hubby and started running around with a college professor just before World War II. Problem? Yes, problem and so, whichever story she told that you believe, said hubby when south in a blaze of gunfire. The college professor took the fall for her, no questions asked, and with that now patented grin on his face just like every other guy. Fortunately (for a while) he skipped town.

That is where Captain Bogie comes in. Seems he and our professor saved the world for democracy over in Europe during WW II and they are to be feted with big time war medals for their efforts. Problem, yes, problem. Our professor can’t take the publicity and beats it back to that podunk town down South that he was from to work things out with Coral and maybe square himself with the law. No go. He ends up torched beyond recognition in some dark raven for his efforts. Bogie when he hears of this, being his superior officer and all, and well, just being Bogie in the 1940s, has to square things for his old buddy.

And he does about six bodies later (okay, okay maybe less). See he falls for Ms. Coral along the way (yah, even Bogie had that grin on his face) and tried to get her out from under whatever trouble she had told him she had with a certain nightclub owner who had the goods on her (and who had back in old Detroit days been her hubby) . But this will put paid to this case, grin or no grin. While the white knight Bogie is chasing bad guy night club owner out the door she is waiting in the rain, gun at the ready, to shoot whoever comes out first. Of course she thinks it will be, ah, Bogie. What did I say before, oh yah, Bogie stay eleven blocks away from Coral Chandler. Hell, forget that, stay a mile away. Got it.

Films To While Away The Time By- Humphrey Bogart’s “In A Lonely Place”

Click on the headline to link to a Wikipedia entry for Humphrey Bogart’s “In A Lonely Place”

DVD Review

In A Lonely Place, starring Humphrey Bogart, Gloria Grahame, Columbia Pictures, 1950

I admit, admit up front, that I am partial to rugged windmill-chasing Humphrey Bogart roles like him as Sam Spade in The Maltese Falcon trying to get a little rough justice in this wicked old world and not afraid to take a beating for the cause, or bust up some wrong gee dreams in the process (although admittedly getting a little thrown off the tracks by a whiff of Mary Astor’s perfume, but that is to be expected). Or another windmill-chaser, Rick, in Casablanca when he knows, knows deep in his soul that the troubles of three love-stuck people in that wicked old World War II Nazi world didn’t amount to a “hill of beans” against the darkening night (although there too he was thrown off by that damn dame perfume). And what about his role in To Have And Have Not when he is again forced, as Captain Harry Morgan, to step it up a notch in that still wicked old World War II world (that time, come to think of it, he too got thrown off the tracks by a woman, by a whistler of all things).

After that big manly, windmill-chasing build-up, complete with cigarette, unfiltered, of course, Luckies probably, in hand it is hard to see old Bogie as kind of troubled, well, dope. A guy who can’t handle his emotions, or his fists, when some little breeze problem come s through the door. Against friend of foe, against some Johnny Rico or some frail. However that is exactly the problem before us as Bogie plays a troubled screen writer (aren’t they all, troubled that is, having to write some pretty tough stuff to earn their dollar a word).

Maybe I had better give you the “skinny” here so you’ll get my drift. Dix (Bogie) is a maybe “has been” writer who is in a dry spell. He invites a hat- check girl from the club home (what club? any club, any gin joint in the world) to give him the story line of a book that he is supposed to do the screenplay for. And that is all he wants. (Ya, I know that “come on” is weak but there it is). The problem: early next morning she is found dead, very dead, in some arroyo road side ditch. And Dix is primo suspect numero uno. Enter one lovely blond alibi, Lauren (played by Gloria Grahame), who had seen Dix sent the hat check girl off alone. Dix is still not off the hook though since downtown (the cops, okay) are not convinced that Dix didn’t do it. This unlikely pair begins an affair. The story then gets tense as Lauren (and others) begin to believe Dix did do it after he exhibited extreme anger (and violent acts) at the accusations. Well, Dix didn’t do it but he lost Laurel by his mad man American Psych 101 demeanor. And so he walks alone at the end, a contrite but broken man.

See, no foggy airfield sent-offs amid the clamor of war next fights, no fast boat get-aways to Free French territory and the fight continues, and no wacko stuff of dreams busted wiser man here, just alone. Bogie alone. Jesus.

From The Pen Of Joshua Lawrence Breslin- When Humphrey Bogart Single-Handedly Built The Second Front In World War II (Sort Of)-“All Through The Night”- A Film Review

Click on the headline to link to a Wikipedia entry for Humphrey Bogart’s All Through The Night.

DVD Review

All Through The Night, starring Humphrey Bogart, Conrad Veidt, Peter Lorre, Warner Brothers, 1941

No question, no question at all, at least cinematically, Humphrey Bogart did not like Nazis. In the United States or abroad. And he was willing to do something about it, cinematically. We all know and loved his dashing role as Rick, the owner of Rick’s American Café, in Casablanca, where he got off the dime and decided that the love interests of three little people in this wicked old world were not “worth a hill of beans” compared to lining up, lining up gratis as it turned out, against the Nazis (and their Vichy French sympathizers) and helping freedom-fighter Victor Lazlo out of a jam. Ditto when some second level free-fighter gets dinged in Vichy French Martinique and, he, Captain Harry Morgan this time, has to get off another dime and help the good old cause in To Have Or Have Not. Of course there love interest Lauren Bacall as a wayward fellow traveler made that decision so much easier.

Now to the film under review, a lesser film, and obviously one released (December 2, 1941) before the Americans went into World War II big time, All Through The Night, and Mister Bogart’s efforts to derail the German “fifth columnists” (real enough) infesting New York City and other American locales. Bogart, as “sportsman” (I am being nice) Gloves Donohue, the toast of Broadway is incensed when the guy who delivers his thrice daily cheesecake is mysteriously murdered. And when another “colleague” from the entertainment business is offed and he is the “fall guy,” patsy, he determinedly decides to get to the bottom of these cases.

And at the bottom is that a Nazi spy ring that is planning, planning assiduously a big time event, in New York Harbor. Naturally, after much rigmarole Gloves saves the day but not before taking care of that ring, and its nefarious leader, Ebbing (played by Conrad Veidt, last seen as a German Major at the Casablanca airfield very dead from a Rick bullet after trying to stop Victor Lazlo from doing his anti-Nazi business. Of course, the surprise in all of this rather long film given the rather simple task, is that it is played half-way for laugh.

Gloves Donohue, unlike Bogie portrayals of hardened criminals like Duke Mantee in Petrified Forest or Roy ‘The Boy” Earle in High Sierra is strictly out of some second-rate Damon Runyon hi-jinx episode. So there is plenty of slapstick, and wistful colorful New York language, to accompany this ferreting out of ‘fifth columnists” in our midst. Frankly I liked his grittily determined efforts as Rick and Captain Morgan better (and the female company provided a little better as well, although Leda, his love interest here and in a jam as well, could sing a torch tune, no question.) Like I say though chalk up one Humphrey Bogart as a guy that Nazis (and on the run hoods, who like to slap girls around, like Johnny Rico in Key Largo) should stay away from, very far away.

Out In The 1940s Crime Noir Night –Humphrey Bogart and Lauren Bacall’s “Key Largo”

Click on the headline to link to a Wikipedia entry for Humphrey Bogart’s Key Largo

DVD Review

Key Largo, starring Humphrey Bogart, Lauren Bacall, Edward G. Robinson, Lionel Barrymore, and Claire Trevor, Warner Brothers, 1948

“One Johnny Rocco, more or less, in the world is no business of mine.” So says one world-wise, world weary, been-through- the-mill ex-World War II military man, Frank McCloud (played, understatedly, by one cinematic 1940s tough guy, Humphrey Bogart) in the film under review, Key Largo. And he was right, dead right that a single guy , a single guy singed by life’s pitfalls could, would, or should take on one more hoodlum in this wicked old world.

But, of course dead right or not, this would be an exceedingly short film if Frank threw in the towel when he faced one real live Johnny Rocco hoodlum (played to a sleazy tee by serious 1940s gangster-type Edward G. Robinson). Moreover I set up the last paragraph to see if those who follow crime noir in all its glory were paying attention. Crime noir, for the one hundredth time, no, the one thousandth time, is based, for good or evil, on one premise, crime at the end of the day does not pay. And criminals must pay, either forfeiting their lives or doing one to ninety-nine in stir, the can, prison, okay.

And so world-weary, world wary, seen it all Frank McCloud must once more call on the better angel of his nature to eradicate one very live Johnny Rocco. Let’s give a few plot details to flush on this story and see why Frank had to bust up some two-bit racketeer. One Johnny Rocco and his courtly entourage of petty thugs decided to hit Key Largo, specifically the Key Largo Hotel, off-season, maybe to save a little dough on the room rates. No, no, no to make a score off of some counterfeit dough hot off the presses that his old crony Ziggy will pass off as real kale. But see Johnny has a problem because although a few years back he was king of the hill up in the Midwest he has been deported as, if you can believe this, an undesirable alien and has been cooling his heels in anything goes Batista-era Cuba waiting for his big comeback. So this deal, real dough for fake (at a serious discount of course) brings him back to old Estatos Unidos, well, Key Largo which is only a stone’s throw from Cuba.

And everything would have been fine except just then one ex-serviceman, our friend Frank McCloud, who happened to have been the hotel owner’s (played by Lionel Barrymore) killed in action son’s commanding officer in the European Theater, decided to stop by and commiserate on his way to Key West. And everything would have been very fine if a big blow, a hurricane, did not also gum up the works forcing everybody (everybody except the Native Americans left to fend for themselves during the storm) into the claustrophobic hotel lobby area where the frayed nerves of all were exposed.

Naturally since old Johnny had all the guns, all the gunsels, and a very nasty disposition when he was crossed he was hands down the winner, right. No, no you were not paying attention. See a dame, well, actually two dames, come in to muck things up. No femme fatales here though, just Nora (played, very understatedly by Lauren Bacall), who was married to the owner’s deceased son and is pretty easy on the eyes. While the sparks between Bogart and Bacall do not light up the screen like they did in To Have And Have Not they go for each other. So Frank’s hands off the world approach is doomed, doomed big time, if he wants to get anywhere with Ms. Nora. And then there is Johnny’s lush girlfriend, Gaye, who old Johnny does not treat right, no way. Add a slap or two to Nora by Johnny and Johnny is doomed, doomed big time. RIP. Thus there is, whether it makes any different in the great mandela in fact one less Johnny Rocco in the world. Got it.

Out In The 1940s Crime Noir Night- Humphrey Bogart and Ida Lupino’s “High Sierra”- A Review

Click on the headline to link to a Wikipedia entry for the crime noir High Sierra.

DVD Review

High Sierra, starring Humphrey Bogart, Ida Lupino, directed by Raoul Walsh, Warner Brothers, 1941

Okay, okay one more time- and this is for you, Roy “Mad Dog” Earle the “hero” of the film under review, High Sierra, crime does not pay. Some guys, some guys like brother Earle wind up learning that “hard knocks” lesson the hard way- lying face down at the bottom of some foreboding sierra canyon and no one , well, not no one, but hardly anyone to weep over their bones. And that, my friends, is the rough sketch lesson behind this classic Bogie gangster portrayal (and classic down-at-the heels dime-a-dance portrayal as faithful Marie, played by, well, an amazingly fetching Ida Lupino).

A little plot line is in order to show why, why, naw, skip that, we already have had our noses rubbed since childhood in the whys and why nots of crime doesn’t pay but why Brother Earle in the end took a bullet rather than be captured alive (even with his doll moll, Marie, ready to visit him every Sunday at some off the road prison locale).

See Earle is a three-time loser (or at least more than once) having been sprung from a full-book (okay, okay life) prison sentence (via an Indiana pardon) by an old-time gangster boss on his last legs. Apparently the talent pool of hard boys has dried up and an old pro that is not afraid to take heat and give some (without losing his head) is required for the caper the old don has in mind. A big jewelry heist in the Sierras (that’s in non-seaside California for the geography-challenged) at a watering hole for the well off. Easy stuff for Earle, as long as he keeps his head and the hired help don’t panic.

Now strictly as filler Roy, having had enough of the inside, and is planning to retire after he gets his cut from the heist. And for a while the film moves along with a little off-hand, oddball romance (no not Ida, not Ida yet). He befriends, on his road west, an old has-been farmer down on his uppers with a pretty crippled (oops, disabled) young granddaughter who he has ideas of marrying. Ya, I know, old Roy had been away for a while so maybe he is secretly skirt crazy, but this combination is strictly no go, no go on about seven counts, including that said granddaughter has enough sense to brush Roy the Boy off. Although not before Roy had sprung for a leg fixing operation. Roy, believe me, it never would have worked out. She would have run off with some Hollywood soda jerk or fast-talking garage mechanic and then where would you have been?

What works, and works like magic, is drop dead foxy, been around the block, been knocked around but is still taking the eight count, Marie. She had blew into town with a couple of what passed for hard boys in the hills of California night ( as boss man Big Mac said the talent ain’t like it used to be) and while they waste their time fighting over her favors she lights on our boy Roy. And after the granddaughter flame-out and some soft-soap sparring Marie wins the prize.

Naturally, yawn, the heist goes awry when some well-heeled dame screams and the bullets start to fly. And as the cops bear down through of series of narrower and narrower possibilities Roy is headed to that high sierra canyon, and death. No, Marie had it right. Like she had a lot of things right. He crashed out and was free, free as a three-time loser was ever going be.

When Humphrey Bogart Ruled The Crime Noir Night- "Dead Reckoning"

Click on the headline to link to a Wikipedia entry for Humphrey Bogart’s Dead Reckoning.

Dead Reckoning, starring Humphrey Bogart, Lizabeth Scott, 1947

Elsewhere in this space I have noted my love for film noir. The black and white photography, the story lines, the sparse and functional language. However, not all film noir is created equal and that is the case here. Humphrey Bogart was a classic match for the genre-tough, rugged, resolute, loyal and always loyal to a pal come what may. Such roles as Philip Marlowe in The Big Sleep or Sam Spade in The Maltese Falcon come to mind. Here he tries to milk that work without being a detective but with the same qualities as he tries to defend the honor of a fallen and maligned fellow soldier. Add Lizabeth Scott as the femme fatale who jams up the works and you would seemingly have the makings of a fine film. When the plot holds interest to a point there is a very strong sense of déjà vu from previous work. If you want to see the film noir master at work then see Bogie in The Big Sleep or The Maltese Falcon. Save this one for back up.

Out In The 1950s Be-Bop Crime Noir Night- Humphrey Bogart’s “Beat The Devil”-A Film Review

Click on the headline to link to a Wikipedia entry for the anti-film noir Beat The Devil.

DVD Review

Beat The Devil, starring Humphrey Bogart, Jennifer Jones, Peter Lorre, directed by John Huston, 1953

When Humphrey Bogart was in his prime, say from the time of Petrified Forest in the late 1930s until say 1947’s Dark Passage, he was hands down king of film noir hill. No question. There were prettier faces (Clark Gable), there were better actors (Spencer Tracey), there were actors with more angst per ounce (Montgomery Cliff) but for sheer gritty, grizzled, gnarly (nice, huh) film presence Bogie was the one. Of course even those who have not kept up with their history know that every king (or queen) has his (or her) day. And then-done. Well, not exactly done but since actors, like some generals, only fade away and hang on for just as long as studios think they have “start” quality to put in the bank. In the film under review, Beat The Devil, our man Bogie is in such a quandary. Clearly, on the screen, it is almost painful to see his physical decline from his prime (only slightly hidden by “make-up magic”) if not his ability to throw off a few off-hand devil take the hinter-post lines in this one.

Fortunately this film, directed skillfully to enhance the black and white features, by John Huston, is not desperately in need of “high” Bogie to carry it along. The story line, about a motley crew of “desperados” seeking fame and fortune in post-World War Africa is fairly straight forward and mundane. Unfortunately, for them, they are stuck in an out-of the-way port in Italy. The keys to the kingdom that this crew is trying to corner in the heated up Cold War world- uranium (or some other equally precious commodity, if thinks turn out badly). If in earlier times gold or diamonds stirred men’s (and women’s) greedy thoughts just then in that red scare night it was that particularly important produce. However not for one moment can any of the parties (and those like Ms. Jennifer Jones and her down-at-the-heels British husband who wonder what this crew is doing out in the sticks) take one eye, much less two, off the others. And that, more than the thin plot line, is what carries the day here. The collective day, with likes of Robert Benchley, Peter Lorre and Ms. Jones, playing off against Bogie’s world-wary, world-weary performance. Add into the mix a little off-hand undone infidelity for the good of the cause and that makes a very interesting mix. If you need classic “high” Bogie then go to Casablanca, To Have or Have Not or The Big Sleep. But if you want to see him play against type and in an ensemble performance watch this one.

Out In The Be-Bop 1930s Night-When Primitive Man “Wins”- “Petrified Forest”-A Film Review

Click on the headline to link to a Wikipedia entry for the 1930s gangster classic, Petrified Forest.


Petrified Forest, starring Humphrey Bogart, Bette Davis, Leslie Howard, Warner Brothers, 1936


Okay here is the genesis of this review. Recently, being on a something of a film noir tear, especially a crime noir tear, I reviewed a little light puff of a noir film, Moontide, where well-known 1940s French film star Jean Gabon tried to break into the Hollywood film racket with a role as a tough hombre, seen-it-all dockworker who is really, just ready, to settle down after all the wine, women and song escapades have worn thin. And settle down in 1940s movie parlance (and maybe life too) was with a good woman and a white picket fenced house (or in this film a barge, it’s near the sea, see). The good woman, a kind of eternal working-class version of everywoman also happened to be down on her luck, and in that film was played by Ida Lupino.

Well, seeing Ms. Lupino in that role got me to think about a similar role that she played trying to be a good “wifie,” (and “mother” to the dog Pard) to Humphrey Bogart in High Sierra. In that film the grizzled Bogart played a serious desperado, a three-time loser desperado, Roy Earle, looking to “retire” to that picket-fenced house except the cops would not let him. Let him, especially after a certain messed-up resort hold-up caper went awry. And when Mr. Earle bought it, as it had to be since crime does not pay, grizzled wised-up gangster or not, Ms. Lupino was left to keep his memory fresh and keep moving on.

Of course all of that high Bogartism got me to thinking about other grizzled gangster roles (and grizzled detectives too) that the bad boy actor Humphrey Bogart played, and that led naturally to the film under review, Petrified Forest, where as Duke Mantee Bogart put in his bid for king of the gangster hill. In fact this film (he had also played the role on Broadway, I believe) first established him for that challenge. The story line here has him on the run from, what else, a busted bank robbery, and every cop in the Pretty Boy Floyd, John Dellinger, Bonnie and Clyde American untamed West was looking for him and his confederates. He winds up in a flea-bitten café located, where else, next to the Petrified Forest, a great symbol of humankind’s age old struggle to deal with nature, and to break with the primitive past.

And that isolated, flea-bitten café setting is important because there is a young serving- them-off-the-arm waitress, Gaby, played by a very young Bette Davis, as the owner’s daughter, trapped there, full of dreams, literary dreams, and a very, very strong to desire to put those silly tree rocks behind her. And, as the film opens, a very well-turned out gentleman/intellectual/ hobo/alcoholic, Alan, played by Leslie Howard, on his uppers trying to get off that dusty road. And that little tension, a tension that was palpable to audiences in the 1930s, between Bogart’s gangster take-everything-you-can-grab-and-grab-it-quick and Howard’s ordered intellectual world gone awry with the times, the 1930s despair times what they were, is what drives the theme of this one. Alan, knowing his time has passed, in any case, makes a pact with the devil to insure Gaby’s future hold on her dreams. And while Bogart, perhaps, played more memorable roles later he certainly was believable as the primitive man gangster trying to claim his rightful place in the modern world. Naturally, in movie life he must pay, pay big-time, with his life because we all know, or should know, that crime does not pay.

Out In The Be-Bop 1940s Night- Free, Ya, Free- High Sierra- A Film Review

Click on the headline to link to a Wikipedia entry for the crime noir, High Sierra.


DVD Review

High Sierra, starring Humphrey Bogart, Ida Lupino, and, of course, Pard, directed by Raoul Walsh, Warner Brothers, 1941


Funny how a character, or performer, in one film will lead you to remember about or to investigate another. Recently I viewed and reviewed a film in which Ida Lupino starred, a kind of off-beat sweet fluff working-class thing in its way from 1942 entitled, Moontide, where she played alongside French actor, Jean Gabon, as down-at-the-heels hash-slinger seeking a little white house with a picket fence. In that role there was no question of her being a femme fatale-type that guys get all, well, nervous over but just a reliable dame when the deal goes down, good or bad. A rare thing in crime noir world, especially with dames. Here in the noir classic, High Sierra, Ms Lupino picks up some of the down-at-the heels aspects of that role of hash-slinger as she plays along side Humphrey Bogart as that reliable shoe good guys and bad guys both use for their own purposes

Of course at this stage of his career Bogart was the king hell actor getting choice roles as the grizzled whatever from Sam Spade in Maltese Falcon to Captain Morgan in To Have Or Have Not so his presence is the driving force of the film. Ms. Lupino is just along for the ride, and to pick up the pieces when the deal goes south. Here Bogart plays the three-time loser, Roy Earle, just out of prison and heading west to get some fresh air, and maybe a new start. A new start in his old racket, armed robbery, big-time armed robbery. Along the way west he is befriended by an Okie-type family heading to California just like the Joads before them. But Roy gets hung up on the young daughter, some lame Janie, and helps fund her operation to fix her foot. Naturally Janie is nothing but ungrateful and spoils Roy’s rehabilitation program. Needless to say, also along the way, brought along by one of the confederates, Marie, the role Ms. Lupino plays, is the smitten dish- rag gangster’s girl who stands by her man, although why with Roy the way he treats her is not apparent on the face of it.

As always in these crime noir adventures, in the end, crime doesn’t pay. In this case the big-time resort heist is fouled up by the inside man and Roy his confederates have to go on the run. Moreover Roy and Marie are forced to split up. Law enforcement keeps crowding Roy. One thing a three-time loser knows, knows deep in his bones, if he goes back to prison he ain’t coming out. That knowledge drives the suspense of the last part of the film as Earle’s world becomes smaller and smaller. And, as they say, it’s a dog’s world that does him in at the end. Ya, but he was free, free like the starry nights that he had time to dream about in his prison nights. And Marie? Who knows but that some other heel may need a reliable shoe.