Хэмфри Богарт english

and countless other scenes have become a part of film lore. The film's status is also due in no small part to the superb supporting cast including Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, and Dooley Wilson, as well as Michael Curtiz's masterful direction and a taut script by Philip and Julius J. Epstein and Howard Koch. Bogart, in his first romantic role, was honored with his first Academy Award nomination (he inexplicably lost to Paul Lukas in another Warner Brothers flagwaver, 'Watch on the Rhine').
The fact that 'Casablanca' was chosen as Best Picture of 1943 and has since made just about everyone's list of the 10 greatest movies ever made is especially remarkable when one considers the script was only half finished when shooting began. The actors were given new pages of dialogue on a day-to- day basis, and were unaware of how the picture would end until the last scene was shot. The final decision was to write two endings--one in which Henreid gets Bergman, and another in which she stays with Bogart--shoot both and then show both to preview audiences to see which works better. As it turned out, the former was shot first and played so well that plans for a second version were abandoned.
During the filming of 'Casablanca,' Mayo was a frequent (and none too welcome) visitor to the set. She was extremely jealous of Bergman and became convinced that her love scenes with Bogart were a little too convincing. Supposedly, once when Bogart received a compliment on his performance in 'Casablanca,' the star quipped, 'I wasn't allowed to see it.'
While Mayo's concerns about Bergman may have been unjustified, she had every reason to worry when Bogart was assigned to star in 'To Have and Have Not' in 1944. His co-star in this loose adaptation of the Ernest Hemingway novel was a sleek 20-year-old fashion model named Lauren Bacall, who had just been signed by Warner Brothers. When Bogart met Bacall for the first time after seeing her screen test, he said, 'We'll have a lot of fun together.' If the finished film is any indication, they obviously had a great time both in front of and away from the camera. Once audiences saw the classic scene in 'To Have and Have Not' when Bacall taught Bogart to whistle, everyone knew he had met his match.
Fun turned to romance and the two were soon talking marriage. Unfortunately, Mayo was still trying to hold onto her husband, but even she knew it was hopeless. She and Bogart were divorced on May 10, 1945; Bogart and Bacall were married 11 days later.
Bogart's wedding present from Warner Brothers was a new contract which guaranteed him an annual salary of $1 million for the next 15 years, an unprecedented agreement at the time. Certainly the box-office strength of 'To Have and Have Not' and his new marriage to his leading lady were a factor. The studio wasted no time in reteaming them for three more films: 'The Big Sleep' (1946), 'Dark Passage' (1947) and 'Key Largo' (1948). While all were entertaining, none had the same spark as their first film, although 'The Big Sleep' came closest. Sandwiched in the middle of the Bacall trio were the film noir 'Dead Reckoning' (1947) with Lizabeth Scott, a poor man's Bacall, for Columbia, and 'The Two Mrs. Carrolls' (1947) which cast Bogart as an artist with shades of Bluebeard menacing (unconvincingly) spouse Barbara Stanwyck.
Now at the height of his fame Bogart almost brought his own career to end, taking on the 1947 HUAC hearings, which had seven years previously targeted him. His friend and director John Huston was a founding member of the Committee for the First Amendment (CFA), and Bogart along with his wife Lauren Bacall threw their support behind it. Along with many others they produced a radio broadcast opposing the hearings, and flew to Washington to show their opposition to hearings they felt were trampling all over the Constitution.
The hearings turned into a circus with the CFA caught in the middle, and a now unfriendly press, began to question why Bogart and Bacall were taking to task a Committee striving to stop the "hater of our people. the foe of our way of life, the poisoner of the minds of our children." Bogart would be targeted by the media, and he freely gave various interviews, to the leftists he was a reactionary to the Republicans he was a Communist.
The final blow came in November of 1947, as 'Dark Passage' starring Bogart and Bacall was released. Bogart in New York to promote the film continued to voice his displeasure with HUAC, and a frantic Jack Warner cabled his New York people to get Bogart to "make a retraction" At the same time a letter writing campaign was targeting Fox theatres that were showing his films, box office receipts for 'Dark Passage', which usually amounted to $1,000 a day per theatre showing a Bogart film, barely took in one fifth of that, and Warner's pulled the film. The FBI was now composing a file on Bogart, despite the attempts of Ed Sullivan, who did not like what Bogart was saying, but nonetheless called FBI Director J. Edgar Hoover and said Bogart was as much a Commie the Director. Bogarts' own production company, Santanna, was having trouble securing money for new productions, the public was beinging to openly question him and the CFA, studio executives were pressuring their contract players to retract statements against HUAC
By December the pressure had won out and defeated the CFA, Bogart in particular was the first to capitulate, and headed back to Hollywood by train. Warner Brothers had a statement drafted for him, and on a rain soaked platform in Chicago, Bogart addressed the assembled press, "I went to Washington because I thought fellow Americans were being deprived of their Constitutional rights, and for that reason alone. That the trip was ill-advised, even foolish, I am very ready to admit. At the time it seemed the right thing to do. --- I am an American --- sometimes a foolish and impetuous American." He went on to add that Communists had used the CFA for their own agenda.
Several papers, and one congressman, Chet Holifield wrote that the CFA and Bogart had no need to apologize or retract statements, noting that even the toughest of actors can be forgiven for faltering under intense pressure, said one columnist "All right, Humphrey. You can get up off your knees."
Fellow CFA members were in shock at their star attraction pulling hte rug out from under them, though many understood the intense pressure put upon him. Many noted that he had a tortured look about him. John Huston would later say of his friends actions "I felt Bogie was out of line. But he was only the first of quite a number."
Despite this apparent falling out, Bogart reteamed with his favorite director John Huston for another career milestone, 'The Treasure of the Sierra Madre'. Bogart shed his private eye image for a chance at his first solid character role. As a grubby gold prsopector named Fred C. Dobbs, Bogart delivered what may be his finest performance, showing heretofore untapped range as a man totally consumed by greed. Equally memorable was his co-star Walter Huston, who deservedly won a Supporting Actor Oscar. Although critics loved the film and praised Bogart, it died at the box office.
Despite his past problems with politcal issues Bogart supported several Democratic political causes and even campaigned for Adlai Stevenson during his unsuccessful presidential bid in 1952.
On the homefront, the Bogarts welcomed a new member to the family in 1949 when their son, Stephen Humphrey, was born. (Their daughter, Leslie Howard, was born in 1952 and named after his friend and fellow actor who lost his life in WW II.)
Meanwhile, a different type of Bogart production had been set up in 1947. Bogart formed Santana Pictures Corp., named after his other great love besides Bacall, his boat Santana. At the time, Bogart was the first actor to form his own production company. Between 1949 and 1951, Bogart starred in four Santana productions for Columbia: the urban drama 'Knock On Any Door,' the forgettable adventure flicks 'Tokyo Joe' and 'Sirocco,' and the cult classic 'In a Lonely Place.' Jack Warner was furious when Bogart formed his production unit, fearing it would start a trend in which actors would gain new power. Regardless, Bogart still worked for Warner in two minor films in the early '50s that finished his Warner Brothers contract: 'Chain Lightning' and 'The Enforcer.'
Freed from Warner's shackles, Bogart was clearly ready to stretch his acting muscles. The perfect showcase came again from Huston: 'The African Queen'. The offbeat teaming of Bogart as a drunken boatman and Katharine Hepburn as a strait-laced missionary proved compelling. Bogart was happy to shed his image as a tough, romantic lead to play an unkempt, vulnerable sot and comic sparring partner for Hepburn. The film proved to be a huge hit and Bogart's performance was universally applauded. At the Academy Awards ceremony in the spring of 1952, Bogart at long last won a Best Actor Oscar, beating out such solid competition as Marlon Brando in 'A Streetcar Named Desire' and Fredric March in 'Death of a Salesman.'
The film also kicked off the final phase of Bogart's film career as a dependable character actor. His later films included such diverse characterizations as the unbalanced Captain Queeg in 'The Caine Mutiny' (a third Best Actor Oscar nomination), a disreputable adventurer in Huston's satiric 'Beat the Devil,' a film director in 'The Barefoot Contessa,' a stodgy businessman wooing chauffeur's daughter Audrey Hepburn in 'Sabrina,' and a hoodlum holding a family hostage in 'The Desperate Hours.' Bogart made his final film in 1956, the gritty boxing drama, 'The Harder They Fall'. Shortly after its release in February 1956, Bogart underwent surgery to remove a cancerous growth from his esophagus. He recovered and gained back some of the weight he had lost. Unfortunately, he was readmitted to Good Samaritan Hospital in November of that year for treatment of nerve pressure caused by the growth of scar tissue on his throat. He was sent home sometime after the operation, but never recovered. Bogart died on January 14, 1957 in the bedroom of his home in Hollywood's Holmby Hills. At his funeral, long-time friend Huston spoke for every Bogart fan: 'He is quite unreplaceable. There will never be anybody like him.'
Bibliography
Nathaniel Benchley, Humphrey Bogart (Little Brown & Co., Boston, 1975).
Ephraim Katz, The Film Encyclopedia (Putnam, New York, 1979).
Ted Sennet, Warner Brothers Presents (Castle, Secaucus, N.J., 1971).
David Shipman, The Great Movie Stars: The Golden Years (Bonanza, New York, 1970).
Hollywood Album: Lives and Deaths of Hollywood Stars from the Pages of The New York Times (Arno, New York, 1979).

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