The Screen Guild Theater Presents: The Petrified Forest – 1940

pet forest

My Review

–Needs More Bogart–

Honorary Bogie Radio Fix:

Radio Fixes 2

The Lowdown

For my full synopsis of the plot to The Petrified Forest click here.

What I Thought

This one was just another amazing jewel to be found as an extra on the “Humphrey Bogart: The Essential Collection” box set. While the play/film was adapted for radio three times, this is the only one starring Bogart as Duke Mantee, and the 24-film box set is the only place that I’ve found to hear it.

The audio is a little muffled, but it’s certainly listenable. My initial gut reaction was something along the lines of, “Where the heck is Bogart?!?” as he doesn’t show up until the very end of Act I, and even after that, his part seems to be considerably shortened from the film version. Yes, it’s a radio adaption, meaning it was shortened by at least 1/3 or more for the broadcast, but still – where’s the Bogart love?

Then I looked back at the date of the airing – January 7, 1940. High Sierra was still a year away, and up until that point, Bogart had mostly been playing a second fiddle gangster to the likes of Edward G. Robinson and James Cagney, or helming his own crime pics at a much lower B-level.

It’s Tyrone Power and Joan Bennett that get the real time to shine here, and both of them do fine. I’m a little surprised by how much I bought into their romance after being more than a little partial to the pairing of Leslie Howard and Bette Davis from the film. But the chemistry is real here, sharp and energetic, and Power’s drifting writer feels a little more willing to help Bennett’s pouty waitress out of love, rather than pity, as Howard was towards Davis in the original.

Of course, just like the film, the real fireworks start when Bogart comes in. I’ll save my thoughts on his performance until I get to ‘The Bogart Factor’ below, but I will say that the combination of Power/Bennett/Bogart fell a little flat for me.

Overall, it’s interesting to hear Bogart reprise his famous gangster role for the second out of what would be three performances (the original film, this radio broadcast, and then the made-for-TV remake with Bacall fifteen years later), and while it’s not a must listen for casual fans, most Old Time Radio and Bogart enthusiasts will find enough here to make it worthwhile.

The Bogart Factor

Straight to the point – reprising the gangster-on-the-run role of Duke Mantee, Bogart’s third billed and only gets his most famous lines to use. We also don’t get any of the amazing caged tiger-like mannerisms that helped add an incredible amount of tension to the film. I’d also offer that he doesn’t seem quite as enthused for this broadcast as he did in several of his other films that were adapted for the radio. I haven’t decided yet if it’s really his fault, or if the role of Duke Mantee just needs to be seen as much as it needs to be heard. Plus – he doesn’t even get called out for the trivia game at the end with Power and Bennett even though he was the only original cast member from the film!

The Rest of the Cast

Tyrone Power comes off the best out of the entire cast as he takes over for Leslie Howard playing the wandering and depressed writer, Alan Squier. Power has a great voice for radio and the presence to pull off a solid character. Again, like Bogart, the part of Alan Squier has been cut down quite a bit, but there’s still plenty left to work with as Power carries the bulk of the weight in this production.

Joan Bennett is just fine in as the lonely cafe waitress, Gabby Maple, but Bette Davis has cast a long shadow and it’s not easy to get out from underneath of it. Bennett doesn’t give a bad performance, but it’s just low key enough that I wouldn’t have had any idea it was her if she hadn’t been listed in the credits.

The Bottom Line

Only for Bogart and Old Time Radio enthusiasts, but since it’s a rare find, those are probably the only folks who are going to listen to it.

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Robert Morley

Morley Beat the Devil 2

Birth Name: Robert Adolph Wilton Morley

Birthdate: May 26, 1908

Date of Death: June 23, 1992

Number of Films Robert Morley Made with Humphrey Bogart: 2

The Lowdown

Someone unfamiliar with Morley’s work could be easily misled by reading his many encapsulated bios online. The word pompous shows up so often that one might think critics and biographers were contractually obligated to use it.

Yes, Morley was unabashedly British in some of the most stereotypical ways. From the way he seemed to revel in dancing his tongue around inside of his mouth with the most airy of English diction – to the way that he would slightly cock his head backwards and to the side, nose slightly raised, in many of his performances (and even publicity shots) as if to present himself as better than – Morley was keenly gifted at playing the entitled Englishman who was well aware of how lucky you were to be in his presence.

The great misdeed in only using the word pompous when it comes to describing Morley’s roles occurs when writers fail to include the words incredibly likable along with it. Morley’s deftness at incorporating mischievousness into his pomposity made him the classic king, preacher, ringleader, sidekick, and cameo actor that audiences loved to be driven crazy by.

Only appearing in two films with Bogart, Robert Morley makes an enormous contribution in both. Playing polar opposite roles, it’s hard to imagine that his characters from The African Queen and Beat the Devil wouldn’t actually have quite an interesting and lively conversation together – stirring one another up with their shared spark for personal obsessions that might teeter precariously close to mania.

Check out all the great roles Morley played here on IMDB, but if you want my opinion, start with the two films listed below.

The Filmography

The African Queen – 1951

Morley african queen

Morley plays Katherine Hepburn’s missionary brother, Rev. Samuel Sayer, the recipient of Bogart’s rare and much-welcomed riverboat deliveries deep in the heart of Africa. Have you ever wondered how so many people in this world can put up with, and even be swayed by, over-the-top and stuffy conservative evangelicals? Morley’s work here is a testament to his likability despite his exasperating pretentiousness, and doggone it, I’d go listen to that guy preach. While he doesn’t get as much time to shine here as he does in Beat the Devil, his short appearance, and subsequent death, add just enough weight to ground the storyline in a deep foundation of believable emotion and motivation for the two lead characters. It’s easy to imagine Morley and Hepburn as real life siblings, and watching them chatter about and take care of one another at the beginning is a major highlight of the film. You can read my original write up on The African Queen here.

Beat the Devil – 1953

Morley Beat the Devil

The only complaint that you’ll read about Morley’s performance in this film is that it’s hard not to imagine Sydney Greenstreet in the same role. Morley spends 90 minutes cavorting and scheming alongside of Peter Lorre as Mr. Peterson, in a very Greenstreet-ish role. Morley joins Lorre, Bogart, Ivor Barnard, and Marco Tulli as one of Hollywood’s best cast group of criminal ne’er-do-wells who are desperately trying to make it to Africa so that they can pull off a uranium swindle. It’s a complete about-face from his role as the missionary preacher in The African Queen, and I think that Morley is able to add a much greater sense of deviousness to the character than Greenstreet might have been able to pull off. Mr. Peterson is a character that needs someone a little less likable than Greenstreet – someone who could edge a bit closer to “annoying” and “pompous” than Greenstreet might have been capable of at this point in his career due to the sheer joy he could inspire in audiences with every appearance alongside of Lorre. There’s an especially fun scene in Beat the Devil where Jennifer Jones tells Morley that she and her husband are headed to East Africa on a spiritual journey in an attempt to exorcise their lifetime of sins. Whether it was in the original story, or thrown in as a nod to Morley’s character from The African Queen, it plays out very funny as we watch his face go aghast at the thought that Jones is using religion to con him. You can read my original write-up on the film here

* ‘The Usual Suspects’ is an ongoing feature on the blog where we highlight some of Bogart’s most talented costars and directors who worked with Bogart on at least two or more films. You can the rest of the entries here. *

Lady Esther Presents – Casablanca – 1943

casa

My Review

—Another ½ Hour Surprise—

Honorary Bogie Fix:

5 radio

The Lowdown

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.

Dooley Wilson

Dooley Wilson Casablanca 2

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

The Lowdown:

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!

The Filmography

Casablanca – 1942

Dooley Wilson Casablanca

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

Dooley Wilson Knock on Any Door

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.*

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. *