The Private Detectives

For my money, there was one character type that Bogart was born to play. Gangster? Convict? Escaped Convict? Ex-pat loner struggling against the Axis powers? Naw. For me, no one could play a Private Detective wrapped up inside a Film Noir nearly as well as Bogie. Guns, dangerous women, back alley crooks, illicit affairs, hand rolled cigarettes – Bogart could juggle them all with laid back ease.

For a great breakdown of the history behind the “whys” and “hows” of Bogart’s historical place within Classic Hollywood as a Film Noir detective, you should definitely check out Sheri Chinen Biesen’s book Blackout. Not only is it a wonderful primer on Film Noir, but it goes into great detail about Biesen’s belief that Bogart’s age, wartime rationing, and a lack of leading men in Hollywood led to Hollywood’s greatest icon getting the chance to play characters like Sam Spade and Philip Marlowe.

It’s kind of crazy to consider how few private eye films Bogart made considering how much he’s associated with the genre. Only two officially – but I throw in three more “Honorary Mentions” because I think you can get a good Bogie detective fix from them if you really need to! Let me know if you disagree.

The Private Detectives

The Maltese Falcon – 1941

This is the stuff that Film Noir dreams are made of.

Warner Brother’s originally assigned George Raft to the role of Sam Spade – not because they really wanted him for the role, but because they wanted Henry Fonda for another film and Fonda worked for Twentieth Century Fox. So, follow this . . . Raft didn’t want to do The Maltese Falcon. He supposedly hated the script and didn’t want to work with first time Director John Huston. (Huston didn’t want him either. Bogart was always Huston’s first choice.) So Warner Brothers, knowing that Raft would balk at Falcon, gave him the option of going on ‘suspension’ so that he could go over to Fox and Fonda could come over to Warner Brothers. Guess who’s left to reap the benefits? Mr. Bogart.

Playing the cynical and embittered Private Detective, Sam Spade. A beautiful femme fatale hires him for a case. His partner gets killed. Shady characters and gun play abound. And it all orbits around a priceless statue that has the ability to make people lose their scruples about going down some dark paths.

Bogart’s interactions with Mary Astor, Peter Lorre, Sydney Greenstreet, and Elisha Cook Jr. show a man who seems to be in complete control of every emotion and physicality in an actor’s toolbox, and there’s a level of confidence on display that I don’t think Bogart hit so highly in any of his previous films.

Add in Director Huston, and I cannot see how this film could have been anything less than a classic.

You can read my original write up on the film here.

The Big Sleep – 1946

I’m ready to declare this the coolest Bogart role in his filmography.  Private Eye Philip Marlowe is king.

In Philip Marlowe we get an über playful Bogart as he smiles, quips, flirts, and drinks his way out of every situation. The sunglassed bookstore nerd . . . the prank phone call to the police where he and Bacall switch roles so fast that they end up playing their own parents . . . the way Bogart uses his charm more powerfully than his gun against the bad guys . . .  This was a role that Bogart was born to play. He carries this film and makes it look easy. How can you keep from rooting for a guy who wants the truth above everything else, including his own life?

This film, and especially Bogart’s performance, is remarkable. The Big Sleep is my favorite Film Noir of all time. (And no, it doesn’t matter to me that all of the plot isn’t laid bare by the end – real life is messy and mysterious, so why can’t this film be as well?)

You can read my original write up on the film here. You can also read my write up on the pre-release edit of the film from the year before here.

Honorary Mentions

All Through the Night – 1942

Bogart plays Gloves Donahue, a New York city racketeer that has to track down the man/men who murdered his favorite cheesecake baker. Yes, he’s a gangster. Yes, the bad guys are Nazis. But there’s quite a bit of private eye-like atmosphere in this comedic gangster spoof. Clues are followed. Bogie goes undercover. Peter Lorre is skulking around. Bogart has to work with, and around, the police. The femme fatale is beautiful and potentially dangerous. It’s in my top three favorite Bogart films, so check it out!

You can read my original write up on the film here.

Dead Reckoning – 1947

Bogart might be playing paratrooper Captain ‘Rip’ Murdock, but this film is all noir as Bogart falls away from the military man persona and quickly takes on the air of a hardened detective. Bogart narrates the viewer through the story, walking us along as Murdock pieces together a military buddy’s disappearance.

Of note is one particular scene that plays opposite of our typical expectations for Bogart as he sits and listens to a nightclub singer. This might be the first film I’ve ever seen where we get the Bogie drinks while the femme fatale sings’ scene, and Bogart shows no interest whatsoever in the woman. In fact, he spends most of the song looking down at his drink, ignoring Lizabeth Scott’s suggestive glances. Out of the many movies where Bogart’s played through this scenario, has there ever been another one where he shows such little interest?

There are so many great long shots of Bogart sitting, thinking, lying in bed, and drinking, that if nothing else, I feel like Director John Cromwell should be thanked for his work towards recording Bogart’s great visage for posterity!  If the entire movie had been the above shot for two hours, I would probably have still enjoyed it!

You can read my original write up of the film here.

The Enforcer – 1951

Bogart plays Assistant District Attorney Martin Ferguson. Running on little sleep and next to no time,Ferguson and his right hand man, Captain Frank Nelson (Roy Roberts), are suddenly faced with a ticking clock. Ferguson has to be in court within eight hours, and his main piece of evidence against the ringleader of a hit man crew is no longer breathing. But wasn’t there something he missed? Some small piece of evidence that’s lurking in the dark recesses of his mind? Something that he didn’t think he’d need to remember?

Even though he’s on the government payroll, Bogart certainly goes on a Film Noir journey that feels every bit as lowdown and seedy as the first two films mentioned in this post. I think this one’s a real hidden gem that a lot of people haven’t seen, and it’s well worth a watch!

You can read my original write up on the film here.

*This post is another write up in the Character Reference series on The Bogie Film Blog where we break down some of Bogart’s most well known genres and character types. You can read the rest of the entries here.*

 

 

Dead Reckoning – 1947

dead reck

My Review

—Decent Noir— 

Your Bogie Fix:

3.5 Bogie  out of 5 Bogies!

Director:  John Cromwell

The Lowdown

Captain ‘Rip’ Murdock (Humphrey Bogart) goes looking for his best friend, Sergeant Johnny Drake (William Prince), after Drake disappears on his way to receive the Congressional Medal of Honor.

What I Thought

This is a pretty standard Film Noir that succeeds on every level except the script.  The three leads, Bogart, Lizabeth Scott, and Morris Carnovsky, all do their fair share of the heavy lifting to elevate this movie beyond what it probably deserves.

There were several moments in the film where I got goose bumps as I anticipated where the plot might be about go.  Was one of the major “good guys” really in on the murder?  Was Drake actually a psycho killer in sheep’s clothing?  Were we about to get a shocking surprise twist á la The Third Man?  Unfortunately, the plot was a little more pedantic than all of that, and the film’s last act slowly peters out rather than ending with a bang.  Dead Reckoning has been accused of too closely trying to recreate the magic of The Maltese Falcon, and I can the see logic behind that accusation.

Perhaps I’m too far removed from the time and the culture that Bogart inhabited, but even with all of that said, I still didn’t see a poor film here.  Dead Reckoning is a movie that continues to grow on me because frankly, no one can play the disaffected investigator as well as Bogart did, and Bogart’s never going to make another film.  So I’ll take classic Bogart in a mediocre film any day!

The Bogart Factor

The reviews don’t lie – Bogart is great here.  He narrates the viewer through the story, walking us along as Capt. Murdock pieces together his friend’s disappearance.  Murdock is a paratrooper, but this film is all noir as Bogart falls away from the military man persona and quickly takes on the air of a hardened detective.  He seems particularly subdued and thoughtful throughout the performance.

Of note is one particular scene that plays opposite of our typical expectations for Bogart as he sits and listens to a nightclub singer.  This might be the first film I’ve ever seen where we get the Bogie drinks while the femme fatale sings scene, and Bogart shows no interest whatsoever in the woman.  In fact, he spends most of the song looking down at his drink, ignoring Lizabeth Scott’s suggestive glances.  Out of the many movies where Bogart’s played through this scenario, has there ever been another one where he shows such little interest?

There are so many great long shots of Bogart sitting, thinking, lying in bed, and drinking, that if nothing else, I feel like Director John Cromwell should be thanked for his work towards recording Bogart’s great visage for posterity!  If the entire movie had been this shot for two hours, I would probably have still enjoyed it:

dead reck2

Set this film up as the opening to a Bogart double feature with The Big Sleep or The Maltese Falcon and I think it would be a great night of classic Humphrey Bogart Film Noir.

The Cast

Lizabeth Scott plays ‘Dusty’ Chandler, the love interest to Capt. Murdock and the missing Johnny Drake.  Reviews at the time were pretty hard on Scott, but I thought she did okay.  She certainly reminded me of Lauren Bacall, both physically and vocally, so perhaps that’s why I went a little easier on her.  She pulls off the role well enough that I wasn’t sure which side of the fence she was playing until the end of the film.

Morris Carnovsky plays the nightclub owner and gangster, Martinelli.  Again, reviews at the time make him sound cartoonish and over the top, but I actually enjoyed his performance quite a bit.  He errs on the side of the cutthroat businessman rather than the trigger happy gangster, and it’s a good choice in my opinion.

Marvin Miller is Martinelli’s lackey and strong arm, Krause.  He’s big and creepy, and it’s explained towards the end of the film that he has suffered a head injury in his past, making him an impassive killing machine.  I liked him a lot – until we got to his big exit from the picture.  In one of the scripts worst moments, Director Cromwell apparently decided that he needed to get rid of Krause to continue the story.  I’m fine with that, but did he have to do it in such a silly way?  Murdock has a handful of flash grenades and he’s setting them off in Martinelli’s office.  The place is on fire, and everyone needs to escape.  Bearing in mind that there are two available doors and neither of them is blocked by fire, consider that Krause gives us this face:

dead reck ridic

– choosing to make his escape in this way (that’s him in the lower right throwing himself out a window. . .) :

ridic2

Really?  Couldn’t he have turned around and walked out the door?  Couldn’t Cromwell have had Bogart wrestle for a gun and just shoot Krause?  Is Krause so brain dead that he’s become a Frankenstein-esque monster that’s so afraid of fire that he loses what little mind he has left?  It was certainly a laugh-out-loud moment for me as I watched the film, and this scene alone probably didn’t help the critical response at the time.

Classic Bogie Moment

I wonder if current directors don’t look back at filmmakers like Cromwell with deep envy for getting to work with actors who were as incredibly photogenic as Bogart.  How good does Bogart look in every shot?  For a man who was slight in build with thinning hair, a scarred lip, and crooked teeth, Bogart was a cinematic titan once you put him on the big screen.  I can imagine that it was a lot of fun to put him in a dark suit, slip a gun in his hand, and then take your time coming up with amazing ways to frame that marvelous face:

dead reck classic2

There’s so much great stuff going on it that picture alone that it’s worth the price of admission.

The Bottom Line

Not a must see, but certainly a great showing by Bogart in a weak film.  If the plot drags too much, just turn off the sound and revel at the way that Bogart commands every frame that he’s in!