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Post by teleadm on Mar 8, 2018 18:58:42 GMT
The obvious answer from me is Casablanca 1942.
The beautiful thing is when it comes to Humprey Bogart movies, is that you know what you're going to get, and I mean that as a positive thing.
Me and Bogart movies have what could be called a beautiful friendship.
Bogart sending up his own movie image.
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Post by snsurone on Mar 8, 2018 20:32:17 GMT
Anybody ever seen the WB cartoon SLICK HARE (1947)? It takes place in a Hollywood restaurant, where many cariactured stars appear.
Bogie plays a major part here, demanding that waiter Elmer Fudd bring him an order of fried rabbit--or else! The rest of the toon depicts Elmer's futile attempts to catch Bugs Bunny. At the end, when it's clear that Elmer has failed, it looks as though Bogie is about to blast the poor, hapless Fudd. Instead, he produces a handkerchief, mopping his brow and saying, "Baby will just have to have a ham sandwich instead." "BABY?!" cries Bugs, as he jumps from his hiding place, runs into the dining room, and throws himself on a platter in front of Lauren Bacall, to whom he delivers wolf whistles.
One of my favorites. Pity that Boomerang doesn't show it any more.
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Post by Doghouse6 on Mar 8, 2018 21:22:44 GMT
Favorite Bogart movie: Casablanca. Hate to be cliche, but it's just so endlessly re-watchable and satisfying for (to quote myself on another thread) "the tightness of its script, momentum of its direction and sharpness of its characterizations and interactions."
Favorite Bogart performance: The Caine Mutiny. Others may disagree, but I feel Bogie reached his pinnacle with this finely-etched portrayal. Whether the performer inhabited the role or vice versa, in no other film of his have I more closely experienced the sense of forgetting the actor and believing the character.
Sentimental favorite: We're No Angels, for both the film and Bogart. It's a delight to see him drolly stretching his comedic muscles in this and Sabrina or Beat the Devil during the period. What makes WNA so appealing among that group is its warmth, sweetness and whimsical tone, to which the melding of performance styles as diverse as those of Basil Rathbone, Leo G. Carroll, Peter Ustinov and Aldo Ray add (under the direction of Michael Curtiz in his and Bogie's final collaboration).
Artistic favorite: The Barefoot Contessa: moody; contemplative; poetic; mythic. As with Beat the Devil, TBC took me several viewings to warm to, but has remained irresistible since it succeeded in capturing me. Writer/director Joe Mankiewicz at his most enigmatically thoughtful.
Pure fun favorite: Across the Pacific. Charged with the kind of colorful intrigue, shipboard romance and sly wit to be found only in the movies, this rollicking serio-comic frolic reunites Bogie, Mary Astor and Sydney Greenstreet for loads of brisk, snappy banter laden with equal doses of subtext and duplicity.
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Post by Primemovermithrax Pejorative on Mar 8, 2018 21:26:53 GMT
I am not sure if I have seen Dark Passage-surprising number of his films I havent seen-I watched one recently where he was a blinded gangster.
I think he did a film with Errol Flynn-I'd like to see that.
There was a Tales From the Crypt episode in which they used footage form Dark Passage and computer tricks--and a voice impersonator. Strange story.
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Post by Primemovermithrax Pejorative on Mar 8, 2018 21:29:17 GMT
Anybody ever seen the WB cartoon SLICK HARE (1947)? It takes place in a Hollywood restaurant, where many cariactured stars appear. Bogie plays a major part here, demanding that waiter Elmer Fudd bring him an order of fried rabbit--or else! The rest of the toon depicts Elmer's futile attempts to catch Bugs Bunny. Haha I like that one. It was criticized for showing how unclean the restaurant was. "Roger, your pie sir." Another one is with the penguin and they have Bogart come on by and say: "can you help out a fellow American who is down on his luck?" From what I have read, it was NOT Bogart or Blanc in either cartoons-they mentioned the impersonator-forgot his name but he was really good.
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Post by outrider127 on Mar 9, 2018 1:36:31 GMT
Sahara(1943)
Action In The North Atlantic(1943)
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smiley
Sophomore
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Post by smiley on Mar 9, 2018 3:44:14 GMT
High Sierra Sahara All Through the Night
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Post by koskiewicz on Mar 10, 2018 17:57:09 GMT
...the quirky "Beat the Devil"
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Post by kijii on Mar 10, 2018 18:04:00 GMT
THE AFRICAN QUEEN sin duda
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Post by mikef6 on Mar 10, 2018 20:49:16 GMT
High Sierra Sahara All Through the Night "All Through The Night" is one of Bogart's great "sleepers" among his films. Humphrey Bogart is probably not the first name you think of when the subject of screen comedy comes up, but he did his share of tough guy spoofs. This is maybe his best. Directed at about 200 miles per hour by Vincent Sherman. While today’s hip stars work very hard at being cool, Bogart exudes attitude with the smallest movements. In one throwaway gag, as he sits down at an empty table in a crowded night club, he knocks the “Reserved” sign into an empty chair and drops his hat on it. Wonderful. And don't get me started on the "double talk" scene.
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Post by Fox in the Snow on Mar 11, 2018 10:33:04 GMT
In A Lonely Place
HM: Key Largo; The Big Sleep
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Post by vegalyra on Mar 12, 2018 2:58:56 GMT
Another one that is frequently left out of "best of" or "favorite" lists is Black Legion. Bogart plays a convincing role as a working class Joe who feels passed over by immigrants in his shop job and joins a pseudo KKK organization. His panic towards the end is very convincing.
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Post by BATouttaheck on Mar 12, 2018 3:39:08 GMT
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Post by mikef6 on Mar 12, 2018 4:19:42 GMT
How right you are, Herr Schultz. The scradavan is definitely on the paratoot next to the moctus proctus.
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Post by BATouttaheck on Mar 12, 2018 4:24:16 GMT
mikef6Oh, THAT double talk scene !
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Post by telegonus on Mar 12, 2018 4:25:14 GMT
I gotta go with the obvious choice of Casablanca, which I actually just saw tonight for the first time. Excellent movie. Honorable mention: Maltese Falcon What say you? The Maltese Falcon. Hands down. I wouldn't go so far as to say there's no competition. Bogart has an excellent filmography, but there's good, very good, classic and all-time personal favorite. TMF fits the last three to a tee. Close runners up: The Petrified Forest, High Sierra (a couple of Dillinger turns for Bogie; also, needless to say, Casablanca. I'm a fan of Bogart's wartime vehicle Sahara, top billed and above the title though he is he shares this one with others, and is quite generous to his fellow players (or is this just me?). The two for Howard Hawks I'm a bit mixed on. To Have And Have Not is a fun movie more than a great one. A classic, I suppose, but no masterpiece, at least not as I see it. The Big Sleep I've never been able to understand the appeal of. I (vastly) prefer two from the following year (1947): Dark Passage and Dead Reckoning, both of which feature Bogart at or near the top of his game, and in first rate pictures. Then there were the two for Huston in 1948. Sierra Madre may be the more classic of the two but Key Largo's a lot more fun. Then there was that sort of "down" period, 1949-50, which saw only a few good films for him, and the best of them is probably In A Lonely Place, but it's a dower of a picture all the same. I actually prefer the more workmanlike The Enforcer. Interesting to compare this one with the later, grittier, more arty Murder, Inc., from ten years later, which covers, fictionally, much the same real life "territory". The African Queen is yet another Bogart picture that gets more love from others than from me. I was underwhelmed even seeing it in "revival" in the theater as a teenager. That aside, there was, despite what seemed like a few years of a "slow period", an embarrassment of riches to follow: Beat The Devil, The Caine Mutiny, Sabrina and The Barefoot Contessa, all released within the span of one year. I like Caine the best, find Beat The Devil good, not so clean Camp fun; while Contessa gets rather literary and liberal about the inside workings of Hollywood studios, and I don't think it's one of Bogart's or Joe Mankewicz's better films; and Sabrina has its charms and plays well, however I'm almost but not quite immune to the charms of Audrey Hepburn. The "final four" feel it, with Bogart starting to look his age, and none too healthy, around the time he made Sabrina. Still, We're No Angels plays well and seems to have grown in "stature" over the years. The Left Hand Of God is a movie that Bogart just happened to have starred in, doesn't feel like a Bogart picture, nor does its star seem well cast. We're No Angels, its excellent cast notwithstanding, has never worked for me. The Desperate Hours works better, although this second time around with William Wyler doesn't strike me as nearly so grand or classic to me as it does to its many admirers. The Harder They Fall was maybe not a great film but in many ways the perfect Last Movie for one of Hollywood's greatest and most charismatic stars. An "oh well" and maybe an oops, too, for this lengthy contribution to a thread on people's favorite Bogart picture. I chose one, had a few runners up, then just couldn't stop. As classic era stars go, Bogart, like few others, and more than most, is the gift that keeps on giving. Maybe it's for me due to Bogart's career, the twists and turns of it, his coming to films already a fairly mature man, and then having to wait another ten years for his really big break with High Sierra. Past forty by then, one can see, or rather feel, the clock ticking for the man. His time at the top wasn't all that brief but even if he'd lived another ten or twenty years he'd likely have been at best an "emeritus star" by sixty. Also, while Bogart may not be my favorite actor I have to say that he's my favorite star.
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Post by london777 on Mar 12, 2018 12:49:28 GMT
One not so far mentioned, written and directed by Richard Brooks, is Deadline - U.S.A. in which Bogie plays a newspaper editor trying to expose a crime boss before his paper is sold under him. The insights into how a newspaper office works reminded me of a later movie The Paper (1994) directed by Ron Howard. Bogie has some great sardonic lines.
And an unusual appearance because he was not credited, despite being one of the hottest properties in Hollywood: Always Together (1947). Bogie is one of a number of top Warner stars who are briefly on screen when the heroine visits the cinema and who help her with her problems. Maybe Woody Allen developed this idea for Purple Rose of Cairo (1985)?
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Post by fangirl1975 on Mar 12, 2018 20:12:38 GMT
Casablanca Maltese Falcon Caine Mutiny
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Post by snsurone on Mar 12, 2018 22:49:08 GMT
One not so far mentioned, written and directed by Richard Brooks, is Deadline - U.S.A. in which Bogie plays a newspaper editor trying to expose a crime boss before his paper is sold under him. The insights into how a newspaper office works reminded me of a later movie The Paper (1994) directed by Ron Howard. Bogie has some great sardonic lines. And an unusual appearance because he was not credited, despite being one of the hottest properties in Hollywood: Always Together (1947). Bogie is one of a number of top MGM stars who are briefly on screen when the heroine visits the cinema and who help her with her problems. Maybe Woody Allen developed this idea for Purple Rose of Cairo (1985)? When was Bogie an MGM star??
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Post by mikef6 on Mar 12, 2018 22:57:53 GMT
One not so far mentioned, written and directed by Richard Brooks, is Deadline - U.S.A. in which Bogie plays a newspaper editor trying to expose a crime boss before his paper is sold under him. The insights into how a newspaper office works reminded me of a later movie The Paper (1994) directed by Ron Howard. Bogie has some great sardonic lines. And an unusual appearance because he was not credited, despite being one of the hottest properties in Hollywood: Always Together (1947). Bogie is one of a number of top MGM stars who are briefly on screen when the heroine visits the cinema and who help her with her problems. Maybe Woody Allen developed this idea for Purple Rose of Cairo (1985)? When was Bogie an MGM star?? "Always Together" (1947) was a Warner Bros production. This picture and Bogart's cameo does not get a mention in the exhaustive 1997 Bogart biography by Sperber and Lax.
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