Edward G. Robinson

Robinson Bogart Brother Orchid

Birth Name: Emmanuel Goldenberg

Date of Birth: December 12, 1893

Date of Death: January 26, 1973

Number of films Edward G. Robinson made with Humphrey Bogart: 5

To be completely honest – I didn’t really like Edward G. Robinson before I started this blog. I knew very little about him. I’d only seen one of his five Bogart collaborations with Key Largo. I’d seen so many bad impressions, parodies, and caricatures of the man that I really only knew him as the poster boy for a 1930’s gangster joke!

Now, though? I’ve seen all of his Bogart collaborations and many of his non-Bogart films and he blows my mind with the way that he can play subtlety despite the fact that he was so gifted at being over-the-top. If anyone can give Bogart a run for his money in the ‘Not-Necessarily-Handsome Actor Who Still Made it to Icon Level Status,’ it’s Robinson.

A Romanian immigrant to New York at the age of 10, Robinson jumped into Yiddish Theater at the tender age of 19 before eventually making it to Broadway less than two years later. After that? Hollywood stardom and a permanent legacy as one of Tinsel Town’s toughest bad guys.

One of the best opportunities that I’ve had from writing this blog is that I’ve gotten to know a great guy by the name of “Gonzalo” who runs a site in the same vein to the Bogie Film Blog that’s solely about Edward G. Robinson. Exploring Robinson’s roles film by film, Gonzalo’s site is a fantastic stop for anyone looking for some conversation on classic films and Robinson as an actor. (Fair warning – the site’s in Spanish, so I use Google Translate when I’m there, but very little is lost in the translation! Forgive any translation mishaps!)

Gonzalo was kind enough to chat with me a bit about Robinson, his site, and Robinson’s collaborations with Bogart. (Even though English isn’t Gonzalo’s first language, he was gracious enough to bear with me and my Bogart-obsessed questioning!)

Bogie Film Blog: Gonzalo, what was it that really drove you to create a website devoted to the films of Edward G. Robinson?

Gonzalo: I like to watch his films and [talk] about him, I can’t get enough of his movies and [it doesn't] matter how many times I watch them, I always have a good time, even if some of them are so-so.

His autobiography is a great book and his life story is very interesting, full of greatness and dificulties. He is a proof that [for] people with talent and conviction, the sky is the limit. We’re talking about somebody who wasn’t handsome – a little guy – but he was one of the most popular, respected, and better paid actors of his time. Most people tend to think about him like “the guy that always played gangsters in movies,” but he was an actor who could play anything and [always be] convincing – in good or evil characters, happy or bitter, intelligent or sucker. I [was already] posting about him and his movies in another blog, but after [I found] your site, I had the idea to devote an entire site to Robinson. Why not?

BFB: Exactly! I love it and feel greatly honored that you decided to go down the same path with the Robinson blog. Maybe we can convince a few other diehard fans to do the same with a few other actors. . .

What’s your favorite Robinson film?

G: It’s very hard to pick a movie, and I may change some options tomorrow, next week, or the next year, but Scarlet Street [has] my favorite Robinson performance. Scarlet Street was the film that made me realize how great his performances [were], [he was]somebody who [went] beyond the screen and reached your soul. I already knew who he was before that, but I wasn’t very into him until I watched that movie on TV. It’s curious, but I know now that one of my grandfathers was also a big Edward G. Robinson fan, so I suppose it’s a family thing.

BFB: If someone isn’t very familiar with Robinson, what would you suggest for a good “gateway” film into his work?

G: That’s a hard one because of the wide variety of his acting skills. Probably I’d change my choice depending [on who was] asking me. [Do they] like gangsters films, thrillers, comedy, or drama? But if I a had to pick just one for everybody [it] would be Dr. Erhlich’s Magic Bullet, a great performance in a very touching movie.

BFB: Out of the five films that Robinson shared with Bogart (Bullets or Ballots, Kid Galahad, The Amazing Dr. Clitterhouse, Brother Orchid, and Key Largo) which one would you say is your favorite?

G: Key Largo. I have to say that [for] a time, I didn’t have as much appreciation for it as [I do] now, but a few months ago I watched it one more time and I loved it. Robinson is great in that film, [as] is Bogart, [and] Bacall is beautiful in a very spirited performance. And Lionel Barrymore, Claire Trevor, and the rest of the cast are terrific. The tension is very strong and Huston is in my top 5 film directors of all time. I usually don’t try to analyze a movie technically, but when you don’t care about how much time remains until the end of the movie that’s the sign of a great movie to me, and Key Largo makes you forget about anything else.

BFB: All right, Gonzalo, if you were stranded on a desert island and could only take two Robinson films and one other Classic Hollywood film that doesn’t star Robinson with you, which films would you take?

G: Scarlet Street and probably The Whole Town’s Talking for Robinson. In that John Ford movie [The Whole Town's Talking], we have Robinson as a tough gangster and as a shy and simple guy in a very funny roll. And I’d carry also The Treasure Of Sierra Madre, perhaps the film I have watched [the most] times in my life and I still love it. But [for] some time, [I've been] very fond [of] W.C. Fields [and] I’d have to honor him [by] trying to ignore the “three movies only” rule and I’d try to sneak some more [along], like Witness For The Prosecution, To Be Or Not To Be, and It’s A Gift.

BFB: Gonzalo, thanks so much for your time and for the work that you’re doing on the Robinson site! If you want to visit Gonzalo’s blog, head over to his site here!

Now onto…

The Filmography

Bullets or Ballots – 1936

Bogart MacClane Robinson Bullets

Robinson plays Johnny Blake, an undercover cop who’s trying hard to keep his cool in the middle of a dangerous job. Apparently, the ‘Legion of Decency’ and the ‘Production Code Administration’ were starting to give the studios a hard time for glorifying gangsters. The studios’ response was to turn some of their best bad guys (James Cagney, Robinson, etc.) into good guys. The neat little work-around though, was that the good guys didn’t have to necessarily be good. Here, Robinson plays a cop who’s undercover as a bad guy, meaning we still get all the roughhousing and tough guy bravado that we would have had in a gangster role, but occasionally we get to see Robinson whisper into a phone, “Pssst! Yeah, I got’em fooled!” and we know that he’s still on the right side of the law. We also get a close quarters pistol duel between Robinson and Bogart at the end of the film! You can read my original write-up on the film here.

Kid Galahad – 1937

Robinson Bogart Galahad

Robinson plays boxing a promoter, Nick Donati, who stumbles across an unknown fighting phenomenon (Wayne Morris) at a hotel party and sees a chance to make a run for the heavyweight title and a whole lot of money. The only problem? The current champion works for mobster “Turkey” Morgan (Humphrey Bogart), and Morgan is willing to do whatever it takes to win. The film has your standard cookie-cutter Cinderella story, but the cast of Robinson, Bette Davis, Wayne Morris, and Bogart rise above the material to create a very entertaining dramedy. You can read my original write-up on the film here.

The Amazing Dr. Clitterhouse – 1938

Bogart Robinson Clitterhouse

Robinson plays the unfortunately named Dr. Clitterhouse, a doctor so intrigued by the criminal mind that he decides to become a criminal in order to get some firsthand insight on their mindset and behaviors. The overall film suffers from tonal shifts – I wish they’d played it for a few less laughs – but it still has its moments. Robinson gets great scenes with both Claire Trevor and Bogart, especially their final confrontation together in his office. You can read my original write-up on the film here.

Brother Orchid – 1940

Bogart Robinson Orchid 2

Robinson plays mob boss Johnny Sarto, a gangster who’s had enough crime and violence in his life and is looking for a way out. After dallying with the civilian life however, Sarto decides that he wants his old gang back. The catch? The old gang doesn’t want him back. Seated at the table is Jack Buck, played by Humphrey Bogart, who’s next in line for the boss’ seat – leading to Robinson going on the run and eventually hiding out in a monastery. Robinson’s got some really nice scenes with fellow monk Donald Crisp, but I wish that they’d gone a bit edgier with his character so that the eventual character arc would have been slightly more dramatic. Overall, Ann Southern, Crisp, Bogart, and Robinson are all great and it’s still worth a watch. You can read my original write-up on the film here.

Key Largo – 1948

Bogart Robinson Largo

Robinson plays mobster on the run, Johnny Rocco – a gangster who’s on the verge of losing his confidence. We get to watch Robinson strut, punch, slap, yell, threaten, sweat, quiver, and cower all in just an hour and forty minutes as he begrudgingly deals with his hostages (Bogart, Bacall, and Lionel Barrymore) and his drunk ex-girlfriend (Claire Trevor). On the receding side of his career, this was supposedly a “thank you” role for Robinson after having given Bogart so much time to shine in their earlier collaborations together. Robinson nails it. No matter what’s going right or wrong for Rocco in any given scene, there is an underlying sense of fear present that pervades every word and action on display. You can read my original write-up on the film here.

*The Usual Suspects is an going feature where we highlight some of Bogart’s more prolific collaborators! You can read the rest of the entries here.*

Down These Mean Streets Again, and Other Podcasting News!

Down Theses Mean Streets Podcast Twitter

This week, though, I would HIGHLY encourage you to head on over to the ‘Down These Mean Streets’ podcast which is a airing a double feature of episodes from Bogie and Bacall’s radio serial Bold Adventure! @MeanStsOTRPod sent me the episodes a week or two ago, and I’ve been listening to them on my travels. I’ve only heard a scant few eps of Bold Adventure, but I’m now salivating to dive in full steam.

In lieu of an extended post on the show before I’ve heard them – I’d encourage you to check out the show itself on the ‘Down These Mean Streets’ podcast. I asked @MeanStsOTRPod to give us all a little intro to the radio serials, and in his own words:

“Though they popped up regularly around the dial during the Golden Age of Radio, Humphrey Bogart and Lauren Bacall only starred in one regular series, and it’s hard to think of a project better suited to their screen personas at the time. Bold Venture blended elements of To Have and Have Not, Key Largo, and Casablanca to create a unique series. Not only did it boast the mega-wattage star power of Bogie and Bacall, but it featured a top-notch crew behind the scenes.

“Bogie was ‘Slate’ Shannon, a hotel proprietor with a shady past who also earned money as a charter boat captain. His ship – the “Bold Venture” – gave the show its title. Bacall was “Sailor” Duval, Shannon’s young ward (she was willed to him – the series was never really clear on the circumstances, but I bet that was a heck of a will-reading!). Together, they landed in and out of hot water in Havana. Throw in ‘King Moses,’ a calypso singer who hung out in the hotel and bantered with Slate and Sailor, and it’s easy to see the influence the couple’s films had in shaping Bold Venture.

“The series was developed for the couple by producer Frederick W. Ziv, a pioneer of syndicated programming. He landed Mr. and Mrs. Bogart for a salary of $5,000 a week; this was pricey for the 1950s, but a transcribed series with two of Hollywood’s biggest stars meant Ziv could (and did!) sell the series all across the country. Estimates I’ve read cast Ziv’s profits on the series at almost ten million dollars.

“The Bogarts got 78 episodes in the can before and after their trip abroad to shoot The African Queen. Ziv had an option to sign the couple for three more years, but it was Bogart who walked away. I’ve read it was the combination of offers in the wake of his Oscar win (not to mention his new fatherhood) that led him to throw in the towel. Bogie reportedly said of the show, I got tired of it. I never listened to it, but Betty did. She liked to hear her voice.

“All due respect to Mr. Bogart, but even a quick listen to Bold Venture reveals it to be exciting stuff, particularly if you’re a fan of that classic Bogart-Bacall chemistry.”

You can get the Mean Streets podcast on iTunes here, the Stitcher app here, or visit the tumblr site here. And you can read my previous interview with the podcaster himself here!

And in Other Somewhat Fun News!

I’m in the early stages of being able to announce that The Bogie Film Blog will be making it’s way to the podcast world as well! The details have not been ironed out yet, but the goal is to be up and running by the end of the year! It’s looking promising!

Thanks so much to all of you who have been regular readers and encouragers! Now head over and listen to some Bold Adventure!

Jason

 

Ann Sheridan

Ann Sheridan It All Came True Pulbicity Shot

Birth Name: Clara Lou Sheridan

Birthdate: February 21, 1915

Date of Death: January 21, 1967

Number of Films Ann Sheridan made with Humphrey Bogart: 7

The Actress

The daughter of a Texas auto mechanic, Ann Sheridan grew up as a bit of an athlete and Tomboy who would later take a page out of her father’s handbook and develop a passion for restoring cars. On track to become a school teacher until her sister entered her in a “Search for Beauty” contest, Sheridan’s bathing suit picture was enough to win over the judges and earn her a bit part with Paramount Pictures.

Twenty-four films later, Sheridan made her way over to Warner Brothers where she would end up working alongside of Hollywood’s greatest legend, Humphrey Bogart. While Hollywood dubbed her the “Oomph Girl,” Sheridan reportedly hated the nickname, but her pin-up popularity and alluring film roles did nothing to dissuade the general public from picking up on the moniker and keeping it alive.

Full disclosure – I have a heavy, heavy, crush on Ann Sheridan, so any opinion I have on her movies is deeply colored by my adoration. Having made 7 films with Bogart, this post is late in coming to ‘The Usual Suspects’ portion of the blog.

Free tonight? Pop in It All Came True and try – just TRY – not to fall in love with this woman!

The Filmography

Black Legion – 1937Ann Sheridan Black Legion

Sheridan appears as Betty Grogan, the girl-next-door girlfriend to Bogart’s best friend in the film, Dick Foran. She’s sweet enough in the role but doesn’t get a lot to work with as she spends most of her time trying to be the good girl who reforms her beer drinking boyfriend into marriage material. You can find my original write up on the film here.

The Great O’Malley – 1937Ann Sheridan The Great O'Malley

Sheridan plays school teacher Judy Nolan, the woman that tames, teaches, and eventually falls for Pat O’Brien’s stuffy cop. It’s another underdeveloped role for Sheridan, but she’s just so doggone cute and charismatic that it’s clear she did the most she could with the script. It’s fun to watch her strut her stuff to the chagrin of O’Brien as she gets to play the street-smart gal to a man who expects all women to fall into a cookie-cutter housewife stereotype. You can read my original write up on the film here.

San Quentin – 1937San Quentin Sheridan

Sheridan gets a little more to work with here as the lounge singing May, girlfriend to Pat O’Brien’s prison warden. Suffering from a few character inconsistencies, Sheridan begins the film as a sultry nightclub act, only to switch over to the innocent girl-next-door type for the rest of the film. It certainly doesn’t ruin the film, but it might have been more interesting to see her with a bit of a darker character, especially since she’s playing the sister to Bogart’s small-time hood. This was also supposedly the film where Sheridan and Bogart became good friends off screen. You can read my original write up on the film here.

Angels with Dirty Faces – 1938Ann Sheridan Angels With Dirty Faces

Sheridan plays Laury Ferguson, and while she does the best she can here, she is severely underused in this film. There are a few moments of promise at the beginning when she starts a relationship with Cagney, but after that, Sheridan is relegated to occasionally popping up to fret over the men of the film and try not to look out of place even though she has little to do. Still, she does look great, and it’s fun to see her onscreen mixing it up with James Cagney and Pat O’Brien. You can read my original write up on the film here.

It All Came True – 1940 Sheridan It All Came TrueSheridan = perfection here. I know this isn’t a great film by any means, but her portrayal of the dancing and singing Sarah Jane Ryan goes toe-to-toe with Bogart’s dastardly gangster and she steals nearly every scene that she shares with Hollywood’s biggest legend. If any Bogart collaboration captures her spitfire personality, it’s this one. From her first entrance to her final song, she was amazing. You can read my original write up on the film here.

They Drive by Night – 1940They Drive by Night Sheridan

Sheridan plays truck stop waitress Cassie Hartley who falls for George Raft after he’s more than a little persistent. Sheridan does a good job of giving us the impression that she’s a good girl who’s perhaps done some dark things in her past, and she has some really nice scenes with Raft as they share a hotel room for a night before eventually falling in love and making a life together. I can’t get enough of Sheridan, and this is one of her most solid Bogart film appearances. You can read my original write up on the film here.

Thank Your Lucky Stars – 1943Sheridan TYLS

Sheridan plays herself in this star-studded wartime musical, although she doesn’t share any scenes with Bogart. Singing Love isn’t Born It’s Made, Sheridan teaches a group of young ladies who are pining over their singleness how to proactively search for love. Wearing a slinky, silky, white dress, Sheridan’s musical number is definitely one of the highlights of the film, even with the audio turned off! You can read my original write up on the film here.

The Treasure of the Sierra Madre – 1948no Sheridan

It’s another Bogie Film Blog cameo that never was! While Sheridan is listed on IMDB with a cameo in the film as a pretty woman walking by a storefront, the woman in question is clearly not Sheridan. A few online sites say that there are test photos of Sheridan in the costume, so perhaps John Huston initially had her in the film and then decided the cameo was too distracting? Again, if anyone has any info on how this rumor got started, let me know. You can read my original write up on the film here.

* ‘The Usual Suspects’ is a regular feature on the blog where we highlight one of Bogart’s regular collaborators. Check out other posts here. *

Lady Esther Presents – High Sierra – 1946

High Sierra Lady Esther

My Review

—Surprisingly Well Done— 

Honorary Radio Bogie Fix:

Radio Fixes

The Lowdown

You can read my original synopsis of the film here, but this adaption has been edited down so drastically that many of the supporting characters have been axed in order to focus almost solely on the relationship between ex-con Roy Earle (Humphrey Bogart) and his moll-in-the-making, Marie (Ida Lupino).

What I Thought

The best radio film adaptions are able to pare down a 90+ minute film into just under an hour, giving us a heavy dose of the most dramatic moments and letting the main stars take over almost all of the focus. Here though, High Sierra is wheedled down to under 30 minutes and some of the film’s major supporting characters have been completely removed from the story altogether.

Gone are Henry Travers as the traveling farmer looking for a break in California and his young daughter who catches Bogart’s eye and provides much of the motivation for Roy Earle at the end of the film. Forget the long romantic conversations under the stars and the father/son relationship bonding. That whole subplot has been sliced out. Roy Earle’s sidekicks Red and Babe have been trimmed down quite a bit as well, as has Earle’s mentor and boss, Big Mac.

What’s left?  Well, there’s still a robbery. The thieves still meet in cabins in the woods. The mountain top standoff is still the climatic ending. But what the adaption spends 99% of its time on is the relationship between Bogart’s Roy Earle and Ida Lupino’s Marie. This entire radio program hinges on the ability of the two main actors’ to convince us that their relationship is more important than anything else in the script.

The verdict? It works wonderfully well.

When I saw that the show only lasted 28 minutes, I was ready for a real stinker, but the Lady Esther crew wisely keeps what we love most about Bogart and Lupino’s characters and shifts the script a bit to make their motivation to fall in love happen much more quickly and naturally than it does in the film. With no other woman for Bogart to fall in love with, Lupino’s encouragement and bravery impress him. He’s not looking for jewels, he’s looking for a life beyond crime – something that he sees potential for in Lupino. Lupino is on the run from her painful past and knows that the men she’s traveling with aren’t it. She meets Bogart. She likes Bogart. Bogart is her way out. With the other characters relegated to tiny bit parts, the heist becomes inconsequential and the story becomes more about whether or not these two multi-time losers can get away with their crime and actually enjoy a quality life together.

It’s better than it has any right to be, and at just under ½ an hour, it’s a great listen for your daily commute.

Bogart and Lupino

I would dare say that these two have more spark as a couple in the radio adaption than they do in the film. The script is trim and tight, both actors are performing so well that you’ll think you’re listening to audio from the film, and the short running time will leave you longing for more – in a good way.

Bogart comes off a bit softer here with his ‘crew’ than he does in the film. Instead of having an outside love interest, his story is contained neatly within his relationship with Lupino. It gives the character of Roy Earle a greater sense of maturity and loneliness that leads us to really pulling for him to fall in love with Lupino. To be honest, I really missed, “The Gun went…” *tap, tap, tap* scene, but I can let that go.

Lupino also comes off as much more sympathetic than she did in the film. This version of Marie is a woman that we can root for. Life has dealt her a bad hand, but perhaps this one job with this one guy can turn it around.

The Rest of the Cast

As per usual, we’re not given the names of any of the other cast members. But whoever they had filling in for Willie Best as Algeron was so spot on with his impersonation that they could have just as easily given Best credit. Likewise, the voice actor filling in for Barton MacLane as the ex-cop turned bad guy, Jake Kranmer, was another spot-on substitute.

So what if the sound man playing the part of Pard the dog sounds more like a man than a dog when he barks? That’s part of the charm of Old Time Radio, right?

The Bottom Line

Short, sweet, and surprisingly good.

Claude Rains

Rains Casa

Birth Name: William Claude Rains

Birthdate: November 10, 1889

Date of Death: May 30, 1967

Number of Films Claude Rains made with Humphrey Bogart: 2

The Actor

The son of British theater actor Frederick Rains, Claude Rains was raised around the stage, working various jobs backstage and onstage as he received a well-rounded education in the dramatic arts.

Rising quickly through the theater ranks to become known as one of England’s preeminent stage actors, Rains also taught acting at England’s Royal Academy of Arts where such greats as John Gielgud and Laurence Olivier spent time as his students.

After even more success on Broadway in New York, Rains finally headed west to Hollywood where he received the lead role in his first American film, The Invisible Man for Universal Pictures. After a few years, Rains would move on to Warner Brothers where he would star alongside of Humphrey Bogart in Casablanca for which he received one of his four Oscar nominations.

Rains only made two films with Bogart, but ever since that first viewing of Casablanca, I’ve been a big fan of his work. Is there anyone on earth who didn’t laugh out loud the very first time they witnessed this exchange between Rains and Bogart:

Bogart as Rick Blaine: How can you close me up? On what grounds?

Rains as Capt. Louis Renault: I’m shocked, SHOCKED – to find out that gambling is going on in here!

Croupier: (HANDING RAINS A LARGE STACK OF CASH) Your winnings, sir.

Renault: Oh, thank you very much. (TO THE ENTIRE NIGHTCLUB) Everybody out at once!

The Filmography

Casablanca – 1942

Rains Casa 2

Rains gives an amazing performance as Captain Louis Renault, the ruling authority in Casablanca who also happens to be friends with Bogart . . . as long as the bribes keep coming and the the Germans don’t apply too much pressure. What a testament to Rains’ talent that he can commit completely despicable deeds one moment and then have us laughing with joy the next. In a film with a lot of great humor, Rains takes a hefty chunk of it, stealing nearly every scene that he’s in, including the one mentioned above. I can’t be the only one who wants to see just a few minutes of Renault and Blaine’s post-Casablanca adventure together! Can you imagine these two guys fighting, drinking, joking, cajoling, and swindling their way through German troops as they work for the French resistance? And, of course, Rains and Bogart close out the film with perhaps the most memorable movie-ending in the history of cinema! You can read my original write up on the film here.

Passage to Marseille – 1944

Rains Passage to Marseille

Reunited with Bogart, Peter Lorre, and Sydney Greenstreet just two years after Casablanca, Rains plays Captain Freycinet, commander of an Allied air base that’s about to launch a bombing raid out of England. It’s a much more sympathetic and heroic role for Rains this time around, with a lot less snarky one liners to steal the show. Rains ends up on a steam tramp with escaped prisoners Bogart and Lorre as they try to stay out of German hands while heading off Greenstreet’s opportunist French officer. Rains especially nails his role during the funeral in the final moments of the movie where I think that he gives my favorite scene from any of his films. You can read my original write up on the film here.

*The Usual Suspects is an ongoing feature at ‘The Bogie Film Blog’ where we highlight some of Bogart’s most interesting collaborators. You can read the rest of the posts in the feature here.*

Lux Radio Theater – The Treasure of the Sierra Madre – 1949

Untitled

My Review

—Huston and Bogart are Awesome—

Producer: William Keighley

Honorary Bogie Radio Fix:

5 radio out of 5 Bogies!

The Lowdown

Two down-on-their-luck men pool their resources with an old prospector to search for gold in Mexico. You can read my original write up on the film here.

What I Thought

Lux Radio Theater pulled off a really well done adaption of the film this time around, as Walter Huston and Bogart both reprise their original roles. Of all the radio versions of films that I’ve covered for the blog so far, this one’s got to come close to most listens on my iPod, perhaps only rivaled by Bogart and Greer Garson’s adaption of The African Queen.

Essential to this greatly shortened adaption (coming in at less than an hour) is the choice to have Walter Huston’s character, Howard, narrate the story rather than some stock radio announcer. It gives the listener a much stronger character insight into Huston while serving as more than just plot advancement for the portions of the film that had to be removed.

There are a handful of actors portraying Mexican children, bandits, and natives that probably over-stereotype the accents a bit, but I suppose it’s forgivable considering the era in which it was produced. I only wish that we could have a resource for the complete cast lists of these adaptions as I would love to give credit to some of the other actors besides Bogart and Huston. The actor who took over the role for Tim Holt does a great job here, but I wasn’t able to find his name anywhere.

The Bogart Factor

With a much shorter running time, I thought it was a lot of fun to discover a slightly tweaked character for Bogart’s Fredd C. Dobbs here. With a shortened script comes more compact lines, and this leads us to see Dobbs as a much more unstable character far earlier into the story than what we saw in the film. It completely changes the character dynamics between Dobbs and Huston’s old prospector (which I’ll dive into a bit deeper below) and it makes a wonderful complimentary piece to the original film.

I’ve said it for every Bogart radio performance so far and I’ll say it again, he knew how to bring 100% to these audio versions of his films and it’s a joy to hear him recreate the roles!

The Cast

Walter Huston reprises his role as Howard, the crusty old prospector that’s been parodied countless times over the years since he gave his amazing performance for this film. Just like Huston steals the silver screen version, this entire adaption is his playground to rule as well. He sounds like he’s having a ton of fun as he holds nothing back narrating the story and interacting with Bogart and the other actors. The final scene in which he and the other actor realize that the gold is gone and they begin to laugh has a wonderful moment in which they stop for just a fraction of a second, we think it’s over, and then they begin to howl again. It was a great choice to make and Huston seems to be playing for a slightly crazier version of the film’s original character.

I also noted in my film write up that Bogart and Huston seem to be playing the devil and angel on Tim Holt’s respective shoulders as they show him both sides of humanity’s potential for greed and madness. Here though, Huston’s portrayal comes off as much more unstable, leading us to believe that the third young prospector, Curtain, is not only the most sane man in the mountains, but also a less important character overall.

I would love to be able to credit the men who played both Curtain and Cody, and perhaps some Old Time Radio lover out there can lead me to complete cast list!

Classic Bogie Moment

It must have been a real thrill to see Bogart live on stage recreating his most famous roles. One fun little surprise from this adaption was the actual crowd laughter that followed this line:

Bogart: Fred C. Dobbs ain’t a guy that likes being taken advantage of. We got no real choice at all. Bump him off!

They’re clearly not laughing because Bogart’s playing it for laughs. It’s just such a wonderfully shocking reading of the line that gives us a full perspective of how far Bogart’s willing to go in order to keep his full interests in the gold. No one could threaten a life as well as Bogie!

The Bottom Line

Probably the best radio adaption of a Bogart film that I’ve heard so far.

Lauren Bacall

Bogie and Bacall Big Sleep

Birth Name: Betty Joan Perske

Date of Birth: September 16, 1924

Date of Death: August 12, 2014

Number of films that Lauren Bacall made with Humphrey Bogart:  6

The Actress

I wasn’t planning on adding Bacall to ‘The Usual Suspects’ portion of the blog for quite a while. Much like when I saved Casablanca for my final Bogart film review, Bacall was going to be the cherry on top of a year spent recapping some of Bogart’s other greatest collaborators. I was going to save the best for last. But alas, with Bacall’s passing this past week, I couldn’t help but spend some time reliving a handful of my favorite films with my all-time favorite actress.

When I heard the news that Bacall had died, I had a strange feeling of regret rather than remorse. Usually when one of my favorite Hollywood icons passes, it leaves me in a funk for several weeks. (Jimmy Stewart passed not too long after my grandfather. Don’t even ask how wonderful I was to be around for a few months after that . . .) Here though, I felt different. I felt an immediate sense of great disappointment rather than grieving.

I think that in the back of my mind I had always assumed that I would eventually get to see Ms. Bacall in person. Maybe even get the chance to talk to her or get an autograph. Perhaps it would be at a TCM or Bogart film festival – I’m not sure, I hadn’t actually planned it out in my head, but of all the actors that I’ve written about since starting this blog, Lauren Bacall was still alive. She was still with us. She was a physical link to Classic Hollywood, Humphrey Bogart, and cinema history. She was a living, breathing presence that graced the same ground that I did.

I have no doubt that the grieving will hit me sooner than later. Just the act of creating this post gave me pause a few times as I popped Bogie/Bacall DVDs. A quick and simple screencap from To Have and Have Not ended up lasting over an hour as I just started watching the film rather than watching for a good moment to steal.

So no Bacall bio from me this week. Maybe someday. If you need to, check out her IMDB page here, or read her wonderful autobiography. Head over to Wikipedia for her page or watch one of the numerous Bogart DVD extras that record her amazing rise to fame at nineteen and the subsequent love affair with Hollywood’s greatest star. I just don’t think that I’m ready to dive back in and write-up a more concise record of her life and career yet.

Rest in peace, Slim. If only we were so lucky as to have seen you walk into that great gin joint in the sky and be reunited with Mr. Bogart. Your legacy will live forever, but your presence will be sorely missed.

The Filmography

To Have and Have Not – 1944

Bacall To have and have not 2

From my original post on the film here:

“I . . . I don’t even know where to begin. I fell so deeply in love with this woman because of this film. Marie is reportedly based largely on Hawks’ own glamorous wife, which, if true, good for him. This being Bacall’s first movie, I am continually astounded at how she is able to play such a depth of maturity at such a young age. I’ve seen Bogart fall in love with a lot of women on screen, but this is the one time I truly believed it. It’s more than the lines and the blocking. We are watching this woman and this man court one another right before our eyes.”

Bacall plays Marie Browning, a young grifter in Fort de France, Martinique who falls for Bogart’s tour fishing captain, Harry Morgan. Again, from the orignal post:

“The first moment when Lauren Bacall sits on Humphrey Bogart’s lap in To Have and Have Not, something inside me stirs in such a deep and private way that I’m uncomfortable watching the film with other people in the room.

“Broke and stranded in Martinique, Marie takes to conning men – teasing them to the point of stupidity, before making off with their wallets. She says that she’s slowly building her funds so that she can make it back home, but we don’t believe her because Morgan doesn’t believe her. He reads her even better than she can read him or any other man. Marie is running from a past of pain and abuse, and the fact that Morgan picks up on it so quickly unnerves her deeply.

“Morgan and Marie are two people who both exude extreme confidence while privately loathing what they’ve let themselves become. So close are they attuned to each other’s inner truth, that they immediately start to distance themselves in a bit of role-play – as if using each other’s real names might be too intimate. Morgan only refers to her ‘Slim.’ Marie refers to him as ‘Steve.’ (Which, according to IMDB might, be a reference to the word “stevedore” which means “dockworker.”) They circle one another endlessly, gently keeping their distance – until Hawks has them touch. And then? Boom. White hot sparks.

“Bacall was nineteen when she starred in this! NINETEEN! What were you doing when you were nineteen? I was . . . well, I won’t bother telling you where my sympathies lay back then.”

This was the film where I fell hard for Lauren Bacall and she became my number one classic film screen crush. I could have this one on a loop in the background for eternity and never get tired of it. You can also read the write-up I did on the radio adaption of the film starring both Bacall and Bogart here.

The Big Sleep – 1946

Bacall Big sleep

A film that I got to enjoy posting on twice, The Big Sleep is available in two versions. From my original posts here (1946’s Hollywood release) and here (the unreleased pre-edited 1945 version):

“The widely accepted and well chronicled story is that Lauren Bacall’s agent, Charles Feldman, started to get nervous about his new young wunderkind after horrible reviews were written for her performance in the film Confidential AgentAgent was Bacall’s follow-up film after becoming an overnight sensation alongside of Bogart in To Have and Have Not, and Feldman was apparently freaking out at the idea of Bacall disappearing into Hollywood obscurity after being labeled as a one-hit wonder.

“With this film already delayed, Feldman wrote to Jack Warner, pleading to reshoot some scenes and add more of the fiery romantic flavor that Bogart and Bacall shared in To Have and Have Not. Warner agreed, Director Howard Hawks eventually relented to rework some shots, the stars reassembled a year after production, and seven reels of the film were altered with reordered scenes and a little over 20 minutes of new or alternate material.

“Bogart and Bacall’s romance is beefed up considerably. I felt that in the pre-release version, Bacall comes off as a bit more threatening to Bogart. Reshoots were done on a few scenes to make her a little more affectionate, and their innuendo-heavy ‘horse racing’ scene was added to help build up the sexual tension. In the original version though, I thought that Bacall came off as much less trustworthy and there seemed to be considerably more tension as to whether or not she was really on Bogart’s side.”

As the older sister Vivian Rutledge, Bacall is fantastic in both films. Whether you love or hate the overly complicated plot, this one’s a must see if you’re a Bacall fan, a Bogart fan, a classic film fan, or a cinema fan of any sort!

Two Guys from Milwaukee – 1946

It’s just a brief cameo here by the couple playing themselves. I’ve got a write-up on the film coming in about a month, so, as I said, I was planning on holding off on this ‘Usual Suspects’ post for a bit. But since it’s just a cameo, I figured that I could update it when the post on the film is finished . . .

But to make up for it, here’s a YouTube clip of the entire cameo.

Dark Passage – 1947

Bacall Dark Passage

Bacall plays Irene Jansen, the woman who mysteriously seems to have a personal stake in an escaped convict (Bogart) and houses him after he alters his appearance with plastic surgery while on the run. As the story goes, Jack Warner and the critics were pretty upset that Bogart spends the first hour of this film hidden behind bandages. Not only that, but there are a number of first-person shots from his eyes, so all we hear is his voice over.

As for me? I can’t complain. From my original post on the film here:

“Make no mistake about it, this is Bacall’s movie to make or break. She’s gotten a lot of flak for not being able to stand on her own without Bogart when it comes to many of her non-Bogart films, but here she shows that with the right director, she can work wonders. Much of the first hour of this film is spent in close-ups on her remarkable face as we see from Bogart’s first-person point of view, and it’s impossible to take your eyes off the screen whether she’s talking, moving, or just sitting perfectly still. This woman is stunning, and when given a chance, she knew how to combine her looks and her acting talent to truly command the big screen. If you’re a Bacall fan at all, this one’s definitely worth a look.”

Key Largo – 1948

Bacall Key Largo

Their last big screen film together, Bacall plays Nora Temple, the widow of Bogart’s recently deceased army buddy. Not the deepest of roles compared to their other four major pairings, but Bacall is strong, defiant, and just soft enough to care for the stranger who has stumbled across her doorstep. The real life chemistry between Hollywood’s greatest couple carries over well into the film, and the close ups they share together are worth the price of admission alone.

The overall film is so great, and with Lionel Barrymore and Edward G. Robinson as costars, it’s a wonderful way for Bogie and Bacall to finish their time together on the silver screen. Bacall’s relationship with her surrogate father, Barrymore, speaks volumes to her subtleties as an actress as she’s able to convey so much affection through simple touches and caring looks.

That shot above where Bacall casually brushes back her hair as she helps Bogart on the docks is such an authentically small moment that it melts my heart every single time. How is it possible that she seems even younger here than she did four years earlier in To Have and Have Not? How amazing is it that Bogart got to close out his onscreen relationships with two of his greatest costars (Bacall and Robinson) in one film?

If you haven’t seen it yet, do yourself a favor and call in sick tomorrow. You can read my original post on the film here.

Producer’s Showcase – “The Petrified Forest” – 1955

pet From my original post here:

“Nearly twenty years after Humphrey Bogart made Duke Mantee his breakout role on the silver screen, he returned to the small screen to reprise the gangster one more time for the TV show, Producer’s Showcase. Stepping in for Bette Davis is Lauren Bacall as Gabby, and Henry Fonda plays Alan Squier, the role made famous by Leslie Howard.”

Well, to be honest, trying to step into a young Bette Davis’ shoes is all but impossible, but Bacall still does well here. She may not capture the spunk and vigor of Davis’ original love-struck teen, but Bacall does comes off as much more believable in the scenes where she talks about literature and recites poetry.

Again, it’s another wonderful instance of Bacall getting to share in a monumental moment with Bogart as he returns to the role that really notched his belt with its first major mark as a superstar in front of the world. Such an incredibly interesting experiment in the rebooting of a film, this one’s worth a look if only to say that you saw Bogie and Bacall together for the last time!

* ‘The Usual Suspects’ is an ongoing feature at The Bogie Film Blog where we highlight some of Bogart’s most celebrated costars, and occasionally, it makes this writer tear up a bit when he has to write a post like this one. You can read the rest of the posts in the feature here. *