Sabrina 1954 - Charming modern-day Cinderella story

IMDB Link
IMDB Rating: 7,8

Director: Billy Wilder
Main Cast: Humphrey Bogart, Audrey Hepburn, William Holden, Martha Hyer

"Billy Wilder's Sabrina has an explicit fairy-tale quality (it begins with the words 'once upon a time') that betrays its Cinderella roots. Based on Samuel Taylor's stage play, the movie suffers occasionally from feelings of staginess and windiness. It is, at times, obviously formulaic and predictable, but such is the nature of most romantic comedies. Audrey Hepburn's naïf-like vulnerability and angelic beauty make her the perfect fit for the part; her natural elegance, playfulness, and intelligence have the audience cheerfully manipulated into applauding her elevation from rags to riches. Humphrey Bogart (in a part originally intended for Cary Grant) plays against type as the romantic lead who knows the price of everything, but has no concept of the value of love. His character, Linus Larrabee, not Sabrina, is the real protagonist of the piece, as it is his big decisions and personal growth that key the movie's action and resolution. William Holden is well cast as the debonair and wanton playboy. While Bogie and Hepburn don't rank up there with Bogie and Bacall on the chemistry meter, both are incessantly charming. Sabrina is not as insightful or cutting as Wilder's best work, but the snappy and witty banter, which is marked by droll double entendres, help to elevate the film above standard entrants in this genre. The film was nominated for six Academy Awards, but ended up winning only one, for Edith Head's costume design." - www.allmovie.com

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The African Queen 1951 - A successful mixture of adventure, comedy and star chemistry

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IMDB rating: 8,0

Director: John Huston
Main Cast: Humphrey Bogart, Katharine Hepburn, Robert Morley, Peter Bull, Theodore Bikel

"Adapted from a novel by C.S. Forester, The African Queen stars Humphrey Bogart in his Oscar-winning portrayal of Charlie Allnut, the slovenly, gin-swilling captain of a tramp steamer called the African Queen, which ships supplies to small East African villages during World War I. Katharine Hepburn plays Rose Sayer, the maiden-lady sister of a prim British missionary, Rev. Samuel Sayer (Robert Morley). When Germans invade and Samuel dies, Allnut offers to take Rose back to civilization. She can't tolerate his drinking or bad manners; he isn't crazy about her imperious, judgmental attitude. However it does not take long before their passionate dislike turns to love. Together the disparate duo work to ensure their survival on the treacherous waters and devise an ingenious way to destroy a German gunboat. The African Queen may well be the perfect adventure film, its roller-coaster storyline complemented by the chemistry between its stars. The profound difficulties inherent in filming on location in Africa have been superbly documented by several books, including one written by Katharine Hepburn." - www.allmovie.com

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In a lonely place 1950 - One of the darkest portraits of Hollywood

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IMDB rating: 8,0

Director: Nicholas Ray
Main Cast: Humphrey Bogart, Gloria Grahame, Frank Lovejoy

"A haunting work of stark confessionalism disguised as a taut noir thriller, In a Lonely Place - Nicholas Ray's bleak, desperate tale of fear and self-loathing in Hollywood - remains one of the filmmaker's greatest and most deeply resonant features.
It stars Humphrey Bogart as Dixon Steele, a fading screenwriter suffering from creative burnout; hired to adapt a best-selling novel, instead of reading the book itself he asks the hat-check girl (Martha Stewart) at his favorite nightclub to simply tell him the plot. The morning after, the girl is found brutally murdered, and Steele is the police's prime suspect; however, the would-be starlet across the way, Laurel Gray (Gloria Grahame), provides him with a solid alibi, and they soon begin a romance in spite of Gray's lingering concerns that the troubled, violent Steele might just be a killer after all.
During production, Ray's real-life marriage to co-star Grahame began to crumble, and his own vulnerability and disillusionment clearly inform the picture; the brooding, bitter Steele - a role ideally suited to Bogart's wounded romanticism - is plainly a doppelganger for Ray himself (the site of his first Hollywood apartment is even employed as the set for Steele's home), and the film's unflinching examination of the character's disintegration makes for uniquely compelling viewing." - www.allmovie.com

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Key Largo 1948 - Gangster melodrama in the guise of film noir

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IMDB rating: 7,9

Director: John Huston
Main Cast: Humphrey Bogart, Edward G. Robinson, Lauren Bacall, Lionel Barrymore, Claire Trevor

"John Huston's Key Largo - based on Maxwell Anderson's play - shares crucial similarities and differences with Archie Mayo's The Petrified Forest, also starring Humphrey Bogart but made 12 years earlier. The two plots are similar - a group of people held hostage in a remote locale by a gangster on the run - but the differences between the two movies, and Bogart's roles in them, reflect changes in the world and in perceptions of evil and how to deal with it. Where The Petrified Forest was steeped in romantic notions of self-sacrifice, rationalizing the loss of life in World War I, Key Largo implicitly questioned the right of any moral person to withdraw from the responsibility of taking moral action - and it even questioned the wisdom of self-sacrifice. The Petrified Forest's dreamy poet (Leslie Howard) nobly sacrifices himself to see the capture of the deadly sociopath played by Bogart. In Key Largo, Bogart plays embittered, disillusioned war veteran Frank McCloud, who starts the film with nothing to live for and discovers, in the course of fighting and killing old-time gangster Johnny Rocco (Edward G. Robinson), that there is a reason to remain engaged with the world and with his fellow human beings. The difference between the two movies was the intercession of World War II, in which society encountered the most monumental evil on as large a scale as was imaginable. Made in the wake of the war, with the Cold War and the Red Scare just getting rolling, Key Largo was almost a call to arms to any decent people watching that they were too important to withdraw from battlefields old or new, and that there were still battles to be fought that were worth fighting, as well as winning.
Claire Trevor's virtuoso performance as a besotted ex-nightclub singer won her an Academy Award - as predicted by her admiring fellow actors, who watched her go through several very difficult scenes in long, uninterrupted takes. While Key Largo sags a bit during its more verbose passages, on a visual level the film is one of the best and most evocative examples of the 'film noir' school." - www.allmovie.com

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The treasure of the Sierra Madre 1948 - The tale of greed and its consequences

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IMDB rating: 8,4

Director: John Huston
Main Cast: Humphrey Bogart, Walter Huston, Tim Holt, Bruce Bennett, Barton MacLane

"Loosely based on the Biblical parable of the thieves and the 'Pardoner's Tale' in Chaucer's Canterbury Tales, John Huston's morality tale is one of the great cinematic proofs of the Biblical adage radix malorum est cupitidas, or, the root of evil is the love of money. The film is a clever study of the erosive effect that money can have on flawed men's characters. Shot entirely on location in Mexico, the film's dry and dusty atmosphere is clearly authentic. Humphrey Bogart's maniacal Fred Dobbs is one of moviedom's great characterizations, a conglomeration of cunning, greed and paranoia. As his wealth mounts, so does his distrust. While external threats abound, the real enemy lies within. The Treasure of the Sierre Madre examines the essential existential hopelessness and loneliness of the avaricious man, drawing an implicit parallel between the prospectors and man's contemporary pursuit of material wealth. A failure with audiences who apparently didn't want to see Bogie playing such a nefarious anti-hero, the movie is now recognized by most critics as an American classic. For the first time ever, a father and son - Walter Huston (for best supporting actor) and John (for directing and screenplay) - won Oscars for their stellar work." - www.allmovie.com

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The big sleep 1946 - One of the most influential detective movies

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IMDB rating: 8,1

Director: Howard Hawks
Main Cast: Humphrey Bogart, Lauren Bacall, John Ridgely, Martha Vickers, Dorothy Malone

"The definitive Humphrey Bogart/Lauren Bacall vehicle, The Big Sleep casts Bogart as Raymond Chandler's cynical private eye Philip Marlowe. Summoned to the home of the fabulously wealthy General Sternwood (Charles Waldron), Marlowe is hired to deal with a blackmailer shaking down the General's sensuous, thumb-sucking daughter Carmen (Martha Vickers). This earns Marlowe the displeasure of Carmen's sloe-eyed, seemingly straight-laced older sister Vivian (Bacall), who is fiercely protective of her somewhat addled sibling. As he pursues the case at hand, Marlowe gets mixed up in the murder of Arthur Geiger (Theodore von Eltz), a dealer in pornography. He also runs afoul of gambling-house proprietor Eddie Mars (John Ridgely), who seems to have some sort of hold over the enigmatic Vivian. Any further attempts to outline the plot would be futile: the storyline becomes so complicated and convoluted that even screenwriters William Faulkner, Leigh Brackett, and Jules Furthmann were forced to consult Raymond Chandler for advice (he was as confused by the plot as the screenwriters). When originally prepared for release in 1945, The Big Sleep featured a long exposition scene featuring police detective Bernie Ohls (Regis Toomey) explaining the more obscure plot details. This expository scene was ultimately sacrificed, along with several others, in favor of building up Bacall's part; for instance, a climactic sequence was reshot to emphasize sexual electricity between Bogart and Bacall, obliging Warners to replace a supporting player who'd gone on to another project. The end result was one of the most famously baffling film noirs but also one of the most successful in sheer star power." - www.allmovie.com

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To have and have not 1944 - A classic war time action-romance in the shadows of Casablanca

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IMDB rating: 8,0

Director: Howard Hawks
Main Cast: Humphrey Bogart, Lauren Bacall, Walter Brennan, Dolores Moran, Hoagy Carmichael

"A masterful blend of comedy, romance, and action, Howard Hawks' To Have and Have Not is filled with the director's signature situations and relationships. The characters could have been lifted from any one of a number of Hawks films: a strong, stoic hero (Humphrey Bogart), a clueless sidekick (Hawks regular Walter Brennan), and a bold, sexually-charged heroine (Lauren Bacall, in her screen debut). A few scenes even recur in the director's other films, such as the classic, post-kiss line, 'It's even better when you help'. Jules Furthman and William Faulkner loosely adapted the screenplay from an Ernest Hemingway novel; though the setting of To Have is the Caribbean, the characters and Bogart's unselfish transformation is clearly reminiscent of 1942's Casablanca. Hawks would exploit the tremendous chemistry between Bogart and Bacall again in his next film, 1946's The Big Sleep.
The film's enduring popularity is primarily - if not solely - due to the sexy chemistry between Bogart and Bacall, especially in the legendary 'You know how to whistle, don't you?' scene. The most salutary result of To Have & Have Not was the subsequent Bogart-Bacall marriage, which endured until his death in 1957. For the record, a more faithful-to-the-source cinemadaptation of the Hemingway original was filmed in 1950 as The Breaking Point." - www.allmovie.com

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Sahara 1943 - A first-rate war movie, one of Bogart's finest

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IMDB rating: 7,7

Director: Zoltan Korda
Main Cast: Humphrey Bogart, Bruce Bennett, J. Carroll Naish, Lloyd Bridges, Rex Ingram, Dan Duryea

"Zoltan Korda's Sahara was one of the more exciting action movies to come out of World War II, with a brace of fine performances and a plot - derived, in part, from The Lost Patrol as well as from a Soviet-made documentary entitled The Thirteen - that has been reused at least a dozen times since (most directly in a solid western called Last of the Comanches). But it was also a movie that helped its director find his own 'voice' as a filmmaker, and stands as a uniquely leftist (but not communistic) action film to come out of Hollywood in the middle of World War II. Director Zoltan Korda was the left-leaning brother in the filmmaking family led by Alexander Korda, and throughout the 1930s had been forced to sublimate his own ideological leanings to those of his far more conservative brother.
Sahara, made for Columbia Pictures rather than for Alexander Korda, was the movie where Zoltan's sympathies with colonized and oppressed peoples finally broke out into the open, and his antipathy toward British imperialism finally manifested itself. The hero is American, portrayed in low-key fashion by Humphrey Bogart. He's almost an archetype, a cool, clear-thinking tactician, unencumbered by racial or class prejudice, and immediately takes charge of the contingent of British soldiers on the run from the Germans, telling them how to survive, how to fight and, in many ways, how to live. The British aren't depicted as evil so much as aloof in terms of their officer class, and motivationally out of reasons for fighting the Germans. The movie is a subtly ideological work with a heavy emphasis on action, and it gave Bogart (as well as Bruce Bennett and Dan Duryea) a chance to play uniquely clear and richly heroic roles.
The filmmaker would later bring Alan Paton's Cry, The Beloved Country to the screen at a time when few people outside of South Africa knew or cared about the racial divisions in that country." - www.allmovie.com

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Casablanca 1942 - A truly classic masterpiece

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IMDB rating: 8,6

Director: Michael Curtiz
Main Cast: Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, S. Z. Sakall

"One of the most beloved American films, this captivating wartime adventure of romance and intrigue from director Michael Curtiz defies standard categorization. It's hard to imagine a movie in which the leads are better cast: Humphrey Bogart's tough, effortless cool gives Rick the ideal balance of honor and cynicism, Ingrid Bergman's luminous beauty makes it seem reasonable that men would fight for Ilsa's affections, and Paul Henreid's Victor is cold enough that you can imagine Ilsa's being tempted by her old flame. The supporting cast is superb down the line; Claude Rains, Peter Lorre, Conrad Veidt, Sydney Greenstreet, Dooley Wilson, and S.Z. Sakall are all so memorable that one tends to forget that none is onscreen for very long. The screenplay often walks the border of cliché, but the story has just enough twists, and the dialogue so much snap, that it stays compelling throughout. And Michael Curtiz knew just when to turn on the schmaltz and when to cut it off. Casablanca blends romance, suspense, humor, and patriotic drama with such skill that one imagines it must have happened by accident, and the movie looks better with each passing year." - www.allmovie.com

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The Maltese falcon 1941 - The first film noir

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IMDB rating: 8,2

Director: John Huston
Main Cast: Humphrey Bogart, Mary Astor, Gladys George, Peter Lorre, Barton MacLane, Sydney Greenstreet

"Adapting Dashiell Hammett's novel - and staying as close to the original story as the Production Code allowed - first-time director John Huston turned The Maltese Falcon into a movie often considered the first film noir. In his star-making performance as Sam Spade, Humphrey Bogart (taking over from George Raft) embodied the coolly ruthless private eye who recognizes the dark side of humanity, in all its greedy perversity, and who feels its temptations, especially when they are embodied by a woman. While Huston's mostly straightforward visual approach renders The Maltese Falcon an instance of early noir more in its hardboiled attitude than in the chiaroscuro style common to other films noirs, the collection of venal characters, colorfully played by Sydney Greenstreet, Peter Lorre, and Elisha Cook, Jr.; Mary Astor's femme fatale; and Bogart's morally relativistic Spade pointed the way to the mid-1940s flowering of noir in Billy Wilder's Double Indemnity (1944), Otto Preminger's Laura (1944), and Howard Hawks's The Big Sleep (1946). A critical as well as popular success, The Maltese Falcon was nominated for three Oscars, including Best Picture and Best Screenplay, establishing Huston as a formidable dual talent and Bogart as the archetypal detective antihero who can be as unscrupulous as the next guy but also adheres to his own personal code of honor." - www.allmovie.com

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The roaring twenties 1939 - The torrid, blazing, wild, lush, lurid twenties

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IMDB rating: 7,9

Director: Raoul Walsh
Main Cast: James Cagney, Humphrey Bogart, Priscilla Lane, Gladys George, Jeffrey Lynn, Frank McHugh

"Raoul Walsh was one of cinema's greatest action directors in both silents and talkies, and The Roaring Twenties was a breakthrough film for him. Though he had directed standard comedies and melodramas before the film, Twenties would secure him a reputation as a bankable action director at Warner Bros. in the late 1930s. James Cagney, one of the great leads of the gangster-movie era, turns in an assured performance in the film: his demise on the snowy steps of a church is one of the most famous death scenes in movie history. Humphrey Bogart has a memorable supporting performance, though he would not become a big star until two years after the film, in Walsh's High Sierra and John Huston's The Maltese Falcon. Cagney and Bogart appeared together in two other movies, the gangster melodrama Angels with Dirty Faces and the Western The Oklahoma Kid." - www.allmovie.com

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The bad sister 1931 - Bette Davis' film debut as the good sister

IMDB link: http://www.imdb.com/title/tt0021636/?ref_=fn_al_tt_1
IMDB rating: 7,2

Director: Hobart Henley
Main Cast: Conrad Nagel, Sidney Fox, Bette Davis, Humphrey Bogart, Charles Winninger, Zasu Pitts

"'Any intelligent woman could make any man fall in love with her' - No, it has nothing to do with The Bad Sister, but it was Sidney Fox's creed that she practiced. Who would have thought that in just 3 years, the quiet, dependable 'good sister' would be making Hollywood sit up and take notice while the star, the 'bad sister' who got most of the good reviews and publicity would be almost at the end of her career.
Sidney Fox had both father and son (the Laemmles) twisted around her little finger. Junior was the first to fall in love with her - he saw her in the play 'Lost Ship' in 1930 and signed her to a contract. She came to Universal with great fanfare, nothing but the best for little Sidney and The Bad Sister was a flashy debut.
Marianne (beautiful Miss Fox) is the spoiled darling of the Madison household - sleeping late, insulting the maid, Millie (Zasu Pitts) is all in a day's work for her. Being a 'little town flirt' keeps her busy as well - Wade (Bert Roach) is madly in love with her, as is Dick Lindley (Conrad Nagel) - or so he thinks! She also manages to almost lead her family to the poor house because of her extravagant ways and a father who cannot refuse her. While out with Dick, she meets Val Corliss (Humphrey Bogart) or rather 'very neatly' picks him up. She begins a flirtation with Val - but Val is different to the other boys as he is a sophisticated con man. His story goes - he is planning to build a factory on the outskirts of town and wants to bring some local businessmen into key positions. He tries to hook Marianne's father (Charles Winniger), even though he has no money, all Val wants is his name and the influence he has over the town. Strangely, he is the one man in town who is unconvinced of Val's honesty - plus he hasn't made a thorough background check of the company yet. Marianne tries to use her wiles to get her father to sign the contract but when he refuses there is a huge scene. Miss Fox pulls out all the emotional stops as she belittles him, shaming him for his honor and respectability and in the end calling him a failure - until he has a heart attack. Poor, mousey 'good sister' Laura (Bette Davis) has a secret - she is secretly in love with Dick and has written all about it in her diary. Heddie finds the diary and gives it to Dick who is then caught with it by Laura. The movie which until now has been full of small town whimsy turns dramatic as Marianne uses her father's convalescence to take a forged letter to the townsmen stating that Val's scheme is all above board. With that she elopes with Val - only to return home sadder but wiser (Val has run out on her) and also to find that Dick has realised that quiet, dependable Laura can give him true happiness and Wade is her only, still ardent beau.
Apparently Bette Davis lamented for years that she had desperately wanted to play the bad sister but at that stage (it was her first film) she didn't have the vivacity or flirtatiousness of Sidney Fox, who was ideal in the role."

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Dark victory 1939 - An ultimate tear-jerker with Bette's victory

IMDB link: http://www.imdb.com/title/tt0031210/?ref_=nv_sr_1
IMDB rating: 7,6

Director: Edmund Goulding
Main Cast: Bette Davis, George Brent, Humphrey Bogart, Geraldine Fitzgerald, Ronald Reagan

"Adapted by Casey Robinson from a short-lived Broadway play starring Tallulah Bankhead, Dark Victory (1939) is one of Bette Davis's most affecting melodramas. Davis's superb performance taps a range of emotions, as her Judith Traherne transforms from a flippant playgirl into a spiritually redeemed terminal cancer patient, complete with a multiple hankie death scene rendered all the more poignant and moving by Davis's dramatic restraint. Fresh from her Oscar for Jezebel (1938), Davis is surrounded by a sleek production worthy of wealthy Judith, including beautiful gowns and furs by Warner designer Orry-Kelly and sparkling Ernest Haller cinematography (not to mention Humphrey Bogart and Ronald Reagan as spurned admirers). Receiving rave reviews, particularly for Davis, Dark Victory became one of four 1939 Bette Davis hits, and earned Oscar nominations for Best Picture and Best Actress. Davis, however, lost to Vivien Leigh for Gone With the Wind." - http://www.allmovie.com/movie/dark-victory-v12394/

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Angels with dirty faces 1938 - An impressive cast in a gangster classic

IMDB link: http://www.imdb.com/title/tt0029870/
IMDB rating: 8,0

Director: Michael Curtiz
Main Cast: James Cagney, Pat O'Brien, Humphrey Bogart, Ann Sheridan, George Bancroft, The Dead End Kids

"Young viewers unfamiliar with 1930s era gangster melodramas might think that this classic is full of well-worn clichés, but Angels with dirty faces is the kind of film that brews up the bromides for others to dispense. Decades of homage, satire, and straight-up rip-offs have ensured generations of folks who have never seen a James Cagney film but always recognize an impersonation ('You dirty rat!'). Angels with dirty faces has aged well, still delivering plenty of excitement and hard-boiled action alongside its touches of hokum: the kindly priest of the ghetto parish, the cold killer with a soft spot for kids, and the long-suffering neighborhood girl who loves them both. The cast is packed with future icons at work. A pre-legend Humphrey Bogart plays against type as a conniving, cowardly lawyer, still three years away from The Maltese falcon, and four years from his defining role in Casablanca (also helmed by Angels director Michael Curtiz). Pat O'Brien had made several films with Cagney prior to Angels in which he often served as his cast mate's foil, but this is the first time O'Brien played a priest, a persona he'd be associated with for years to come. The Dead End Kids didn't premiere with Angels, but they're still in their prime, too raw and tough here to be full-fledged comic relief; it would be a few years before their scrappy personas aged into buffoonery as the Bowery Boys. Then there's Cagney, at the height of his firebrand power, swaggering and sneering with charisma to burn. One never doubts that Cagney could survive a swarm of bullets in the climactic gunfight, as he wages a one-man war against both cops and crooks. Angels with dirty faces seems to acknowledge its star's glamour and the possibility of his gangster image celebrated and worshipped by impressionable youth. When Father Jerry asks Rocky Sullivan to feign cowardice as he walks to the electric chair, it's to prevent the naïve Dead End Kids from hailing him a martyr who spits at authority up to his last seconds on earth. Sullivan finally puts on the act, begging and pleading for life, and loses all credibility in the eyes of his onscreen admirers. Despite the film studio's intention of 'social commentary', however, the audience in the theater watching Angels may feel this final cop-out makes the character even more appealing. After all, Rocky Sullivan shows great fortitude by 'turning yellow' in the face of death; it was something he loathed to do, but chose because of his affection for the Kids and his friendship with the priest. Who wouldn't want to be that cool?" - http://www.allmovie.com/movie/angels-with-dirty-faces-v2391

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Dead end 1937 - What chance have they got?

IMDB link: http://www.imdb.com/title/tt0028773/?ref_=nv_sr_2
IMDB rating: 7,5

Director: William Wyler
Main Cast: Sylvia Sidney, Joel McCrea, Humphrey Bogart, Wendy Barrie, Claire Trevor, Allen Jenkins, Marjorie Main

"Adapted by Lillian Hellman from Sidney Kingsley's Broadway play, Dead End concerns itself with several denizens of New York's East River district. Here the elite and the slum-dwellers rub shoulders due to the close proximity of the riverfront tenements with the East Side luxury hotels. Slum girl Drina Gordon (Sylvia Sidney) tries to prevent her younger brother Tommy (Billy Halop) from wasting his life as a member of the local street gang. Tommy and the other kids idolize Baby Face Martin (Humphrey Bogart), a onetime East- sider who has hit the 'big time' as a notorious gangster. Dodging the cops, Martin makes a sentimental journey to the neighborhood to visit his mother (Marjorie Main) and his old girlfriend Francie (Clare Trevor). But Martin's mother coldly tells him to get lost, while Francie reveals herself to be a consumptive prostitute. Despite his depressed state, Martin is still admired by the local kids; this displeases sign painter Dave Connell (Joel McCrea), who hopes to escape the slums via his romance with wealthy Kay Burton (Wendy Barrie). Attempting to kidnap a rich boy who'd earlier been beaten up by the street kids, Martin is prevented from making the snatch by Dave, who shoots Martin down. Receiving a large reward, Dave decides to give the money to Drina so that she can afford a lawyer to defend her brother Tommy, who has wrongfully been accused of masterminding the beating of the rich kid. His outlook on life altered by this unselfish act, Dave gives up his mercenary romance with Kay Burton, choosing instead the poverty-stricken Drina. The film introduces the Dead End Kids - Billy Halop, Leo Gorcey, Gabe Dell, Huntz Hall, Bernard Punsley and Bobby Jordan - all of whom were veterans of the Broadway version of Dead End and would be metamorphosed into the East Side Kids and The Bowery Boys." - http://www.allmovie.com/movie/dead-end-v12692

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