The African Queen

Tags

1950's, Adventure, Humphrey Bogart, John Huston, Katharine Hepburn, Robert Morley

The sensational Crystal is hosting a blogathon dedicated to the talents of icons Spencer Tracy and Katharine Hepburn. I was more than happy to join in and celebrate the fineness of these two stars. For my celebration of Miss Hepburn, I decided to review the excellent adventure that is The African Queen. The next review for Spencer Tracy will be of Broken Lance.

Film Title

The African Queen

Director

John Huston

Starring

• Humphrey Bogart as Charlie Allnut
• Katharine Hepburn as Rose Sayer
• Robert Morley as Reverend Samuel Sayer

Filmed largely on location in well documented circumstances and benefiting from the direction John Huston and pairing of Humphrey Bogart and Katharine Hepburn, The African Queen is high adventure that remains evergreen and always exciting.

It is 1914 in German East Africa and prim spinster Rose Sayer is along with her Reverend brother Samuel working as missionaries with a local village. With the First World War occurring at this point, uncertainty rises and escalates when the Germans set upon the village and burn it down. An injured Samuel submits to fever and quickly dies, leaving Rose devastated. Hope comes in the unlikely form of gin-swigging and uncouth tramp steamer owner Charlie Allnut; who delivers supplies to many villages and has met Rose before. Taking pity on her, he takes her aboard his steamer, known as The African Queen. Immediately, the two clash over a difference of opinion and anything they can. Rose is a well-bred, respectable lady who doesn’t take kindly to Charlie’s man about the world behaviour, while Charlie finds his lay about lifestyle challenged by a woman he considers prissy and obstinate. As they continue down the river, their bickering temporarily stops as Rose unusually suggests helping the War effort. Knowing that a German patrol ship blocks any path or form of attack later down the river, Rose suggests fashioning some of Charlie’s supplies into an array of combatants in order to sink the ship. Charlie thinks the idea is ridiculous at first, but getting to know Rose, agrees to her terms. Thus resumes the sniping and arguments as their journey to adventure is fraught with hot weather, dangerous tides and animals. Over this time of surviving the river, Charlie and Rose begin to fall in love, after much reluctance to acknowledge such feelings.

John Huston is the captain of this movie and his maverick spirit is never far from view. Choosing to shoot largely on location in Africa posed difficulties, but his sense of fun and blend of adventure, romance and humour is ideally pitched and depicted to such a loving degree. The initial set up is well done, but The African Queen truly gets going once both Rose and Charlie are on the eponymous boat and the oil-water dynamic sets in. Observing them clash due to different upbringings and divides is what gives The African Queen its playful spirit that no amount of time can diminish. Their impulsive plan to thwart the Germans is daring and the stuff of a Boy’s Own Adventure; ranking it for me as definite must see movie for anyone who hasn’t yet had the pleasure of viewing this classic. We have so many memorable moments to entertain here including riding through the rapids, Rose applying a multitude of salt to Charlie’s leech infested body and the overall journey down the river are just some of the highlights from this gloriously engaging adventure. There’s nary a dull moment as the script and energy keep things bubbling at a nice, exciting temperature. The African Queen is practically a roller coaster on water, with every turn bringing with it gorgeous views, multiple dangers and romance for our two principal characters. The location shooting, which has been extremely well documented for its tribulations, that ultimately added with the flavour of the film, make it adventure and fun of the highest denomination. A grand but always puckish score is the great accompaniment for Rose and Charlie down the river.

Humphrey Bogart collected an Oscar for his winning portrayal of a rough and ready but dissolutely charming captain. With his cheeky grin and gruffness being offset by the fact that he’s really a decent guy underneath it all, Bogart makes the role his own. Katharine Hepburn is equally as excellent with a blend of uptight primness and burgeoning spiritedness that is most accomplished. Hepburn is sharp, strong yet vulnerable and full of life, a mix that she inhabits with vigor. Watching as Rose emerges from her refined nature to becoming a lively heroine of resilience is a great thing and completely down to the greatness of Katharine Hepburn and her talent. And watching the chemistry between the two as they bristle and bicker, before coming to love the other is just another string in the movie’s impressive bow. It’s a shame these two stars didn’t make any other movies together as their chalk and cheese personalities would have been well served if given the chance. Robert Morley appears briefly as Rose’s brother, whose death fills her with a desire to help the War effort in her own way.

The African Queen is fine movie making and a deserved classic that has lost none of its original charm or fun factor. If you haven’t seen it, I implore you to do so for its adventure and pairing of Bogart and Hepburn.

The Big Sleep

Tags

1940's, Charles Waldron, Crime, Dorothy Malone, Elisha Cook Jr, Film Noir, Howard Hawks, Humphrey Bogart, John Ridgely, Lauren Bacall, Martha Vickers, The Big Sleep, Thriller

Film Title

The Big Sleep

Director

Howard Hawks

Starring

• Humphrey Bogart as Philip Marlowe
• Lauren Bacall as Vivian Rutledge
• John Ridgely as Eddie Mars
• Martha Vickers as Carmen Sternwood
• Charles Waldron as General Sternwood
• Dorothy Malone as Book Shop Girl
• Elisha Cook Jr. as Harry Jones

A film noir thriller at its most complex and convoluted, The Big Sleep is cryptic but endlessly entertaining stuff. With a real feel for the dark material shown by director Howard Hawks and the sultry chemistry between Humphrey Bogart and Lauren Bacall, The Big Sleep keeps you glued.

World weary and intelligent private detective Philip Marlowe is summoned to the home of the old General Sternwood. The elderly and frail man is concerned about his youngest daughter Carmen, who has a reputation for being loose. She has had compromising photos taken of herself and someone is using the sordid images to blackmail Sternwood. The person that appears to be behind the blackmailing is a man named Geiger, whose book store doubles as a crime racket. The General also wants Marlowe to locate Shawn Regan, a confidante close to the family who has disappeared strangely. While at the house, Marlowe also encounters older sister Vivian, a more cool and collected lady who knows how to flirt with him, yet keep something of a distance. Investigating further into muddy waters, he finds that the blackmailing crime racket ties with the missing Shawn Regan, though Marlowe is bewildered by how they could possibly do so. Just as he gets close, Geiger is murdered, complicating matters even more. Yet it also transpires that Vivian may also have some involvement in the sinister activities as nearby shady casino owner Eddie Mars appears to have a strange hold on her that she desperately attempts to remain hidden. Quickly, Marlowe is sucked into a seedy world of corruption and double crosses where he is desperate to find answers, as everything is spun in a web of underhand tricks and cloak and dagger activities.

Howard Hawks majestically gets the hard-boiled aura of this Raymond Chandler adaptation, coating everything in a shadowy and seedy vibe as Marlowe journeys into a corrupt underworld of suspicion and classic noir. The black and white cinematography is employed in a pretty amazing way with chiaroscuro taking precedent here and making the atmosphere tangible to the audience from the smoky opening titles. Now I must talk about the plot of The Big Sleep, as it is one mystifying and at times very confusing puzzle. This is actually far from a criticism of this film noir thriller, because it grasps the attention, gets you to pay attention and often moves at such a blistering pace, you won’t realise certain things that don’t add up. Sure everything is pretty cryptic and has you scratching your head, but oh what fun there is to be gained from this movie because of its pace and sexual tension, that are kept on high from start to end. What really brings a film like The Big Sleep to life is the scintillating screenplay, that practically bursts with repartee and innuendo that is some of the most sexual dialogue to be found in a movie from the 40’s, when the censors where usually on full patrol to eliminate anything suggestive . The script takes full advantage of the Bogart/Bacall relationship on and off-screen and serves up some double entendre laden exchanges that push the boat out on risqué (be sure to check the scene between Marlowe and Vivian in which she uses horse-riding and saddles as a reference to another physical activity.) As dark and mysterious as the film is, heck it brings new meaning to the word confounding, there is a playful spirit tone gleaned among all the dodgy dealings, blackmail and sleazy events that are usually hinted at rather than shown. Max Steiner is on score duties and transfers every ounce of tension and stunning sexiness to the viewer, matching the dark yet enticing underbelly The Big Sleep has to offer.

Humphrey Bogart heads up things with a fine performance as the iconic detective Philip Marlowe. Bogart impressively injects the part with cynicism, a quick talking attitude and weariness from all the years on the job. You couldn’t have asked for anyone better than Bogart to essay this part, which he plays with charm, dashes of dry humour and smarts that tell him to keep looking for the outcome of a most baffling case. He is simply on point during the whole run of this movie and makes it look effortless. Lauren Bacall practically oozes confidence and enigmatic sexuality as Vivian, whose feisty encounters and suspicious behaviour form a lot of the proceedings, particularly as Marlowe finds himself falling for her. Bacall was only in her early 20’s in this film, yet she has the innate ability to project the impression of a young woman who has seen a lot, seems to be in control and is adept at being secretive. Having already showed their undeniable chemistry in To Have and Have Not, Bogart and Bacall pretty much set the screen ablaze here, as they once more trade innuendos and tantalizing dialogue that flows from their lips like vintage whiskey. You simply couldn’t have asked for a better pairing than Bogart and Bacall, as they where exceptional together, both on film and in reality. John Ridgely has enough slimy energy and enigmatic ways to keep the shady Eddie Mars memorable in the long run. Martha Vickers features as the childlike and coy sister whose extracurricular activities are the start of Marlowe’s investigation into the unknown. A stately presence is to be found in the work of Charles Waldron as the old General calling upon the skills of Marlowe to eliminate the scandal surrounding his daughter. Popping up in small but still memorable parts, there is Dorothy Malone as a coquettish book shop worker and Elisha Cook Jr. as a very tragic fall guy who comes off badly within the darkness in doomed fashion.

As mystifying and mysterious as it all is, The Big Sleep earns its status as a classic noir due to the hard-boiled style and the iconic partnership of Humphrey Bogart and Lauren Bacall.

To Have and Have Not

Tags

1940's, Adventure, Hoagy Carmichael, Howard Hawks, Humphrey Bogart, Lauren Bacall, Marcel Dalio, Romance, Thriller, To Have and Have Not, Walter Brennan

Film Title

To Have and Have Not

Director

Howard Hawks

Starring

• Humphrey Bogart as Harry Morgan
• Lauren Bacall as Marie ‘Slim’ Browning
• Walter Brennan as Eddie
• Hoagy Carmichael as Cricket
• Marcel Dalio as Gerard

An exciting romantic adventure thriller from the Golden Age of Hollywood and loosely based on(but heavily rewritten here) the novel by Ernest Hemingway, To Have and Have Not still has a whole lot to enjoy within it. Chief among these is the excellent direction from the legendary Howard Hawks and the sizzling chemistry between Humphrey Bogart and a debuting Lauren Bacall, that would lead to sparks flying off the screen as well as on.

The year is 1940 and it is wartime. In the island of Martinique, which is now controlled by Vichy, cynical Harry Morgan is the owner of a fishing boat which he charters to tourists in return for money. Along with his right-hand man Eddie, a bumbling, alcohol-guzzling but genial man, Harry has no interest in politics or the tense situation that is occurring around him. That is until he is approached by Gerard who is one of the Free French and comes to him with a proposition. He asks that Harry help secretly transport two members of the French Resistance onto the island. In the beginning and thinking more of his own neck, Harry refuses to help because of the implications it could have. Yet while mulling it over, he encounters the sultry Marie Browning, who he refers to as Slim. An attractive traveler and pickpocket, Slim wants to return to America but doesn’t have the sufficient funds. Quickly attracted to the sensual young woman, tired of seeing people pushed around and in need of money himself after being owed a large sum, Harry accepts the offer of Gerard in helping the Resistance members get on the island. What follows is a dangerous adventure, tinged with romance and thrills as Harry knows that him being caught could end in very dire circumstances as the authorities on the island are investigating everywhere.

Iconic director Howard Hawks is at the peak of his powers here, directing To Have and Have Not with brilliant flourishes of excitement and tense adventure. The movie itself crosses genres, but with Hawks behind the camera, all the elements slip together nicely and compliment each other. He keeps your attention and there may be the odd lull here and there, but due to his sterling handling of the film, and in particular the undeniably sexy romance, To Have and Have Not is nothing short of a success. Which brings me on to the script that emphasizes the growing attraction between Slim and Harry and peppers it with memorable moments of sparky dialogue. Double entendres and sly innuendo form the core of their courtship and the chemistry between Bogart and Bacall is palpable from the very first moment they meet and Slim inquires “Anybody got a match?” It’s such a classy but sensual side that it adds to the film and not forgetting probably the most iconic scene in the movie. In it Slim seductively tells Harry( who she playfully refers to as Steve), that if he needs anything he just needs to whistle. This is followed by the classic line “You know how to whistle, don’t you Steve? You just put your lips together and blow”. And it’s not hard to see why the line has become so iconic, because of its playful sexual undertones and husky delivery. Even today with more sexually explicit movies about, the sizzling chemistry and passion between both the characters and the actors is still hot stuff. A suitably jazzy score has the right amount of adventure to it and features some wonderful songs too, sung with charm and deep-voiced sensuality by Lauren Bacall.

The talented cast is what really brings life and character to this already exceptional movie. Humphrey Bogart is excellent with his portrayal of the initially reluctant Harry, who is more concerned about himself in the beginning, but eventually joins the fight. Bogart invests Harry with a wise guy charm, tough strength and resourcefulness that you can’t imagine anyone else in the part. And in her movie debut, a 19-year-old Lauren Bacall announces herself as a major talent. With her large eyes, curled hair and husky voice, Bacall is a marvel to watch. Playing Slim with a smart but sensual core, she exudes star quality and threatens to set the screen a flame with her stunning presence. As previously mentioned, she has genuine sparks with Bogart that really add to the experience of the movie. Walter Brennan exhibits kind-hearted but none too bright antics as the character of frequent drinking partner Eddie, who is the main sidekick of Harry. Singer Hoagy Carmichael shows of his immense talent as the main man in the band of the hotel that Harry and Slim frequent. Marcel Dalio does a good job as a member of the Resistance who asks the cynical Harry for help thus drawing him into a dangerous plot.

Brimming with wit, romance and adventure of the highest, To Have and Have Not is a classic picture that is iconic for a lot of many excellent reasons.

 

 

Dark Victory

Tags

1930's, Bette Davis, Dark Victory, Drama, Edmund Goulding, George Brent, Geraldine Fitzgerald, Humphrey Bogart, Melodrama, Tearjerker

Film Title

Dark Victory

Director

Edmund Goulding

Cast

• Bette Davis as Judith Traherne
• George Brent as Dr. Frederick Steele
• Geraldine Fitzgerald as Ann King
• Humphrey Bogart as Michael O’Leary
• Henry Travers as Dr. Parsons

A memorable tear-jerker from the 1930’s, Dark Victory contains one Bette Davis’ best performances. Although highly skilled and supremely effective at playing the bitchy ,wicked and sometimes down right evil woman, she could also be sympathetic and quite touching as evidenced by her portrayal of the tragic  heiress Judith Traherne in Dark Victory.  Although it is clearly a melodrama or “women’s picture” as they were known during the 30’s and 40’s in Hollywood, the performance of  Bette Davis coupled with an emotive score by the great Max Steiner make the film a must see example of a classic tear-jerker.

The  plot of the film focuses on Long Island heiress Judith Traherne, who lives life to the full by smoking and drinking too much, as well as going to parties as often as she can. Although hedonistic and at times very flippant, she has recently been suffering from severe headaches and slight dizziness that she quickly dismisses as nothing at first. But after her eye sight begins to fail causing her to tumble whilst out riding her horse, her sympathetic best friend Ann suggests she see the doctor about it. Judith is very stubborn as she believes she is perfectly well and is deliberately oppositional when confronted by Dr Frederick Steele. After various checks, the young socialite is diagnosed with a brain tumour which Steele believes he can successfully operate on. After the surgery takes place and further tests are done, it is determined that the tumour will resurface again and eventually kill Judith. Steele, who has fallen deeply in love with the young heiress, confides in the caring Ann about this and both agree to stay silent about it, but later on Judith accidentally discovers the truth about what will eventually happen to her. The most tragic thing about it is that before she dies, her vision will begin to deteriorate and she will then become completely blind.  This begins the lead up to one of the most emotional and deeply moving death scenes ever seen on the cinema screen. It is a moment that only a person with a hard heart and no emotional warmth would not find poignant.

Bette Davis is absolutely compelling as the tragic Judith, later in her life she said that her performance in Dark Victory in her opinion was her best performance, out of many from her illustrious and lengthy career. Her best moment on screen is when she realises that she is going blind, the way her face changes from happy and joyful to sad is just heartbreaking to watch. The reason that it is so effective is the look in those famous eyes as she calmly realises that her impending death is gradually approaching and that she must face it. Although the main plot could have been contrived and unrealistic, in the hands of Goulding it becomes a thing of beauty and immense emotional power. In one of her early Hollywood roles, Geraldine Fitzgerald brings warmth and pathos to the character of Ann, as she helps Judith throughout her ordeal.  George Brent is slightly wooden in his role of Dr Steele, but still manages moments of greatness when confessing his love for the young heiress. As much as I am a fan of the great Humphrey Bogart, I do think he is underused in the film and somewhat miscast as the horse trainer who has a soft spot for Judith. If his role had been better written it would have added something more to the film. Despite these minor flaws, the film remains an outstanding example of an emotional melodrama equipped with a classy design and direction that aims straight for the heart of the viewer and succeeds.