Strep throat has stricken my entire family! The Usual Suspects post on Allen Jenkins will be a day or two late!
—Another ½ Hour Surprise—
Honorary Bogie Fix:
It’s a classic radio adaption of Hollywood’s most classic film! You can read my original synopsis of the film here. Despite the drastically shortened run time, the film still retains almost all of its most important plot points, although Sydney Greenstreet’s role of Signor Ferrari has been completely excised and Peter Lorre’s Ugarte appears in name only.
What I Thought
With three of its top stars (Bogart, Ingrid Bergman, and Paul Henreid) back to reprise their roles from the film, a lot can be forgiven for what’s left out in this greatly shortened version of Hollywood’s greatest film. Would it have been nice to hear Dooley Wilson and Claude Rains reprise their roles? Sure, but the actors that they have filling in do close enough impressions that their essence is still there. Would it have been fun to hear Sydney Greenstreet and Peter Lorre back as well? Of course, but when you really consider how their roles were in the original film, it’s not surprising that they cut them for this brief adaption.
What makes this version work so well is that they followed the same formula used for the adaption of High Sierra – keep the love story, dump a lot of the atmosphere. We still get “As Time Goes By” and Paul Henreid once again lead’s the Café in a stirring rendition of “La Marseillaise” to shut those pesky Germans up, so I felt that this adaption has a slight edge over Lady Esther’s version of High Sierra since Sierra didn’t really have such iconic scenes to recreate.
What stuck out to me the most about this version though, was the fact that Rick Blaine really seems to be toying with Ilsa and Victor when it comes to the letters of transit. He says it’s purely business, but he refuses to give them to Victor despite the offer of a large monetary sum. He says he doesn’t want to give Captain Renault any reason to close down the nightclub, yet he doesn’t turn the papers over when given the chance. He tells Victor he’ll save Ilsa. He tells Ilsa that he’ll help her ditch Victor. He takes Renault to the airport with them instead of keeping him in the dark until Victor has escaped as if he wants the good Captain to know exactly how bad he’s been fooled. (Would anyone have questioned a forged signature on the papers?)
With just the audio to tell the story, is seemed much clearer to me that Rick was enjoying himself as he played games with all of the people involved – moving them around his own personal chess board – not sure of which way he wanted the game to play out. He had his own personal grudges and amusements to satisfy before even considering what might be the right thing to do. I would even say that there was a sense in this broadcast that he might not make the “right” choice in the end despite the fact that I knew what was going to happen.
Bogart and Bergman
How come these two didn’t make more films together?!? I hate to say it, but Bergman really steals the show here – recapturing her performance straight from the film. Their scene together as they remember their time in France is especially well done.
Again, Bogart delivers on his lines just as if you’re hearing audio from the movie. It wasn’t until hearing this version though, that I realized how much of his performance from the film is visual. The white tux. The smoking. The drunken sorrow at the table after hours. The contemplative chess. The thousand-yard stare as he holds a gun at the end. Much of his humor has been removed as well, so the character’s not nearly as mischievous as he was on the big screen. Still, I have a feeling that no one will be disappointed with his performance here.
The Rest of the Cast
No names for the supporting actors were given, but the actors playing Sam and Captain Renault do a great job of making us think Dooley Wilson and Claude Rains are back!
The Bottom Line
This one will make you want to watch the film again ASAP.
Birth Name: Arthur “Dooley” Wilson
Date of Birth: April 3, 1886
Date of Death: May 30, 1953
Number of Films Dooley Wilson Made With Humphrey Bogart: 2
Perhaps the most exciting thing that’s happened to me while working on the blog occurred one night while I was reading tidbits and trivia about Bogart films online and discovered that Dooley Wilson had cameoed in another Bogart film, Knock on Any Door, as a piano player. Could it be true? I owned the film, as it came with my Bogart-Columbia Pictures box set, and I had seen the film several times. How could I have missed it? Was this just another cameo myth like Bogart’s supposed appearance in In This Our Life or Ann Sheridan’s in The Treasure of the Sierra Madre?
Lo and behold, I pop in the film, fast forward to the nightclub scene, and there he is, sitting up behind the bar, playing piano and accepting a beer from the bartender. When you consider how the shot is framed, it becomes obvious that Director Nicholas Ray wanted our eyes to find Wilson. It’s as if Director Ray has built a tunnel of people that leads right to Wilson (check out the pic below). But the shot is fleeting, Bogart is commanding the moment with his performance, and I had missed it.
Born in Texas, performing in minstrel shows by twelve, and eventually touring Europe as a singer/drummer for his band “The Red Devils,” Dooley earned his famous nickname in his early twenties when he would perform the Irish song Mr. Dooley in whiteface. Wilson would eventually make his way to Broadway and then on to Hollywood where he would finally cement his legacy with what many deem to be the most famous musical moment in cinema history as he plays the theme song As Time Goes By for Rick and Ilsa in Casablanca.
It wasn’t until just a few years ago that I learned Wilson couldn’t even play piano. His voice is so smooth and his face is so animated that I’d just never bothered looking down at his hands. Now though, it’s pretty clear that he’s just gently bobbing them up and down on the keys. Apparently, another piano player, Elliot Carpenter, was brought onto the set and placed just off-camera so that Wilson could imitate his moves while he sang.
Is it a bit of a stretch to put Wilson into ‘The Usual Suspects’ considering that his second Bogart collaboration is an uncredited cameo with no lines? Who cares? It’s Dooley Wilson! Hollywood’s greatest wingman!
Casablanca – 1942
Wilson plays Sam, Bogart’s best friend and confidant who works as the piano player/singer at Rick’s Café Américain. A huge key to the film’s overall quality and success, Wilson’s musical numbers are incredibly well done and entertaining. Even more fun than As Time Goes By is his rendition of Knock on Wood with the whole nightclub crowd helping to back him. When Rick Blaine’s ex comes looking for him, Sam’s quick to say, “I ain’t seen him all night!” despite the fact that he just saw him. Sam knows that she’s going to be trouble, and without missing a beat, he does what any best friend would – he plays interference. Then, when Blaine’s drowning his sorrows at the bottom of a bottle, Sam suggests hitting the road and going fishing. (That could have been an entertaining film in itself!) Yes, they part ways at the finish of the film when Blaine releases Sam to a rival nightclub run by Sydney Greenstreet so he can go risk his life and lose his love, but they have one of those bromance relationships where they could be apart for years and pick right up where they left off when they meet again. Oh, how I hope they met again… You can read my original write-up on the film here.
Knock on Any Door – 1949
With no lines and just a few seconds of screen time, this is nothing more than a cameo – although, what a glorious cameo it is! Bogart plays an attorney trying to track down the facts on a murder. While sitting in a nightclub during his investigation, we get a glimpse of Hollywood’s most famous piano player behind him, tickling the ivories and getting a beer. Knock on Any Door is a good enough film that you should see it on its own merits, but its brief re-teaming of these two legends makes it extra sweet! 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 the actors and directors who share more than one film with Bogart . . . even if it’s just for a few seconds. Good grief, this guy is cool. You can read the rest of the entries here.*
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!
Bullets or Ballots – 1936
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 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
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
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
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.
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.”
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!
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 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!
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.
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.
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.
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 = 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.
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.
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.
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. *
—Surprisingly Well Done—
Honorary Radio Bogie Fix:
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.