David O'ConnellBacall and Bogart trapped in Key Largo
August 18th 2008 05:39
In the hands of legendary director John Huston the potentially restrictive story of Maxwell Anderson’s play vividly comes to life in this brilliant 1948 screen adaptation. With a hurricane bearing down on the Florida Keys, three heavyweights in Humphrey Bogart, Lauren Bacall and Edward G. Robinson are on a collision course inside the claustrophobic Largo Hotel, with tensions rising as the storm draws closer and a deadline looms and passes.
Bogart is Frank McCloud, an ex-serviceman and war hero who’s visiting Florida to pay his respects to hotel owner, James Temple (Lionel Barrymore), the father of one of his best men, George, who died in battle. Also present is Nora Temple (Lauren Bacall), the late soldier’s wife who helps the wheelchair-bound Mr. Temple with the running of the business.
It’s a sweltering day when Frank arrives in Key Largo to discover that a band of thugs seems to have taken over the hotel, allowing no reservations. Their leader is Johnny Rocco (Edward G. Robinson), a mobster who was kicked out of the States, but is now hoping to regain his ascendancy in criminal ranks with an exchange of counterfeit money.
This dangerous crew - with Rocco's erratic, alcoholic "dame" Gaye (Claire Trevor) lingering in the background - is awaiting a contact to arrive, but the incoming hurricane is set to cause complications, as will a couple of policeman in pursuit of some Indians, known to the Temples, who are wanted for a crime.
Huston, with his masterpiece Treasure of the Sierra Madre just behind him at the time, knows how to extract every last drop of tension out of this tightly constructed suspense drama and the fascinating interplay between the main characters becomes much more complex than it first appears on the surface.
He’s ably assisted by Max Steiner’s magnificent, attention-grabbing score, full of strident dramatic flourishes and a beautiful yearning theme that's heard mostly in the early and latter stages of the film.
The black and white cinematography of Karl Freund is remarkable with plenty of invasive, dramatic close-ups and clever framing which add to the palpable tension as the story unfolds, with the supporting cast of Rocco lackeys and others just as colourfully portrayed as the star attractions.
Each main character has interesting facets with Bogart and Bacall both superb; Frank has doubts about the lack of courage festering inside him - belying the reputation that precedes him - and much of the outcome hinges on his ability to confront his inner demons, whilst at the same time act against the grain of his ethical beliefs – the futility of potentially sacrificing his own life for that of a worthless mobster.
Nora is his gentler, humanistic half, and she provides the conscience by his side, whispering in his ear as his natural desire to act one way, according to the principles she and her father-in-law represent, is betrayed and undermined by his need to act in another, very different way.
Rocco is a bad man, though not necessarily evil – his tolerance for hopeless lush, Gaye, may be proof enough of this - and Robinson gives one of his typically dominant performances in the type of role he made his own over the course of his storied career.
Trevor also gives convincing depth to the pitiful Gaye - she's magnificent and was justly rewarded, I think, with an Academy Award for her supporting role (surprisingly the film’s only nomination!).
Key Largo is a superb crime drama which retains its impact after all these years; seeing it for the second time, but the first time in many moons, I admired it all over again - it’s a genuine classic with it’s wonderful writing, first-class production and direction, and of course those heavyweight stars!
Bogart is Frank McCloud, an ex-serviceman and war hero who’s visiting Florida to pay his respects to hotel owner, James Temple (Lionel Barrymore), the father of one of his best men, George, who died in battle. Also present is Nora Temple (Lauren Bacall), the late soldier’s wife who helps the wheelchair-bound Mr. Temple with the running of the business.
It’s a sweltering day when Frank arrives in Key Largo to discover that a band of thugs seems to have taken over the hotel, allowing no reservations. Their leader is Johnny Rocco (Edward G. Robinson), a mobster who was kicked out of the States, but is now hoping to regain his ascendancy in criminal ranks with an exchange of counterfeit money.
This dangerous crew - with Rocco's erratic, alcoholic "dame" Gaye (Claire Trevor) lingering in the background - is awaiting a contact to arrive, but the incoming hurricane is set to cause complications, as will a couple of policeman in pursuit of some Indians, known to the Temples, who are wanted for a crime.
Huston, with his masterpiece Treasure of the Sierra Madre just behind him at the time, knows how to extract every last drop of tension out of this tightly constructed suspense drama and the fascinating interplay between the main characters becomes much more complex than it first appears on the surface.
He’s ably assisted by Max Steiner’s magnificent, attention-grabbing score, full of strident dramatic flourishes and a beautiful yearning theme that's heard mostly in the early and latter stages of the film.
Bogart's McCloud with Claire Trevor as Gaye
The black and white cinematography of Karl Freund is remarkable with plenty of invasive, dramatic close-ups and clever framing which add to the palpable tension as the story unfolds, with the supporting cast of Rocco lackeys and others just as colourfully portrayed as the star attractions.
Each main character has interesting facets with Bogart and Bacall both superb; Frank has doubts about the lack of courage festering inside him - belying the reputation that precedes him - and much of the outcome hinges on his ability to confront his inner demons, whilst at the same time act against the grain of his ethical beliefs – the futility of potentially sacrificing his own life for that of a worthless mobster.
Nora is his gentler, humanistic half, and she provides the conscience by his side, whispering in his ear as his natural desire to act one way, according to the principles she and her father-in-law represent, is betrayed and undermined by his need to act in another, very different way.
Johnny Rocco (Edward G. Robinson) getting nervous as the hurricane gets closer
Rocco is a bad man, though not necessarily evil – his tolerance for hopeless lush, Gaye, may be proof enough of this - and Robinson gives one of his typically dominant performances in the type of role he made his own over the course of his storied career.
Trevor also gives convincing depth to the pitiful Gaye - she's magnificent and was justly rewarded, I think, with an Academy Award for her supporting role (surprisingly the film’s only nomination!).
Key Largo is a superb crime drama which retains its impact after all these years; seeing it for the second time, but the first time in many moons, I admired it all over again - it’s a genuine classic with it’s wonderful writing, first-class production and direction, and of course those heavyweight stars!
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Comment by Cibbuano
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Comment by David O'Connell
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It's paired on DVD with To Have and Have Not in a Bacall double set at the moment and it's only $10 for both, a real bargain. (I bought it solely for Key Largo and have never seen To Have and Have Not, I'm looking forward to it now).