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Bogie & Bacall - The Signature Collection (The Big Sleep / Dark Passage / Key Largo / To Have and Have Not) (1946) Posters
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Bogie & Bacall - The Signature Collection (The Big Sleep / Dark Passage / Key Largo / To Have and Have Not) (1946) DVD
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Rating:  -
I love these movies but I do wish they would tell you clearly on the box if they have captions. I have bought the set to give as a gift to someone who uses captions and I am reluctant to send it if it doesn't have them! All it says is that the bonus stuff is not captioned which suggests the others are, but doesn't say for sure that the movies are. Next reviewer, can you let all us caption users know. Thanks.
Rating:  -
Quartet of the most beloved and constantly entertaining films ever produced. They're simply not enough adjectives to praise them adequately. But what I want to learn before purchasing this DVD set are the Bonus Features. I have yet to find a review or overview that notes the Bonus Features,I can think of two that one hopes are included: BACALL TO ARMS, a Merrie Melodies cartoon; and SO YOU WANT TO BE A DETECTIVE - a Joe McDaokes '8 Ball' comedy with George O'Hanlon (it's got me giggling just thinking about it).
Rating: -
If only all movie couples had this much chemistry. The Big Sleep is an intricate film noir - so much so that it's easy to lose track of the plot if you blink during a piece of dialogue - while To Have And To Have Not is more Casablanca-esque complete with WWII setting and reluctant but always heroic Bogart.
Key Largo and Dark Passage are the weaker of the four, but the former has some interesting characters and the latter picks up after they do away with the first-person camera.
Rating: -
A great package with great quality and professionally done. If you're a Bogey and/or Bacall fan, you're gonna love having this in your collection!
Rating: -
"Bogie and Bacall -- The Signature Collection," brings us the four movies the near-legendary Hollywood stars, Humphrey Bogart and Lauren Bacall, made together, from first, Howard Hawks's 1944 "To Have and Have Not," in which the couple, just meeting, literally fall in love on screen, through probably their best together, 1946's "The Big Sleep," again directed by Hawks; their strangest, 1947's "Dark Passage," written and directed by Delmar Daves; and their last, the 1948 "Key Largo," directed by John Huston.
All four films are made by Warner Brothers, in black and white; all but "Dark Passage" made entirely on studio back lots, despite the ostensible tropical settings of "To Have and Have Not," and "Key Largo." In most, Bogie plays a character that will be familiar to his fans from his previous work, particularly the great wartime hit "Casablanca" that directly preceded "To Have." We see some of the familiar Warner Brothers company of supporting players in these films, and some well-known, highly-esteemed actors, but the pictures belong to Bogie and Bacall, as they fire up the screen, as lovers and then newly-marrieds.
"To Have and Have Not," supposedly resulted from a bet between Hawks and Ernest Hemingway, famed American author of the book on which it's based. Hawks said he could get a good movie from Hemingway's worst book, which this was. Hawks did so, with a screenplay by another famed American novelist, William Faulkner, and Jules Furthman. The picture, however, is an effort to remake "Casablanca," without Ingrid Bergman, or the earlier movie's sterling supporting cast. Set on a French-speaking Caribbean island, with Vichy French and Free French at war. Almost-heroic Free French fighter, and his wife. Bogie as Henry (Steve) Morgan, hardboiled antihero who sticks his neck out for nobody. Hugely talented American singer-songwriter Hoagy Carmichael as Cricket, singing piano player. Despite his many beautiful compositions, he just doesn't hold the screen as did Dooley Wilson, playing Sam, singer of "As Time Goes By," in the earlier film. Walter Brennan thrown in playing his stellar drunk, Eddie, asking people "Was you ever stung by a dead bee?" He's treated with romanticizing kid gloves by all concerned. And the breathtaking 19-year old Bacall, as Marie (Slim) Browning, who's just landed on the island because she's run out of money. She's given a snazzy check suit, and some snappy dialogue. Remember "You know how to whistle, don't you?" She even sings; legend says she was dubbed by Andy Williams, but that's not necessarily true. They say her part was beefed up when the studio execs saw what was happening onscreen. Sid Hickox's noirish cinematography also contributes greatly to a sexy, old-fashioned, rather routinely plotted, World War II thriller, combining romance, faraway adventure, and a macho Hemingway hero.
"The Big Sleep," 1944, was the second film made by the golden trio, Bogart, Bacall and Hawks. The screenplay, again, was by novelist Faukner, based, this time, on a detective novel of the same name by the Californian author Raymond Chandler. This noir mystery thriller also casts a backwards eye at "Casablanca." Here, Bogie plays Philip Marlowe, Chandler's existential, street-smart, courageous private eye, called to investigate efforts to blackmail the aging, incapacitated, wealthy General Sternwood about one of his daughters. Both the General's daughters, the old man admits, are wild, and have the vices of their class, but Carmen, played by Martha Vickers, is most troublesome; Vivian, played by Bacall, gambles, and seems, carelessly enough, to have recently misplaced her husband, of whom the General was fond. Still, in this picture, Vivian has great rooms and clothes, and a nifty white coupe convertible. Supporting players include Dorothy Malone, Peggy Knudsen, Bob Steele, Lash Canino, and Elisha Cook. Max Steiner contributed the atmospheric score. The notoriously complicated, difficult to follow plot is frequently interrupted by girls admiring Bogie, and stopped dead so Bacall can sing. The screenplay cleans up its source material considerably, still, it was considered an unusually violent and amoral movie for its time. Treatment of Los Angeles is moody; night scenes are shadow and fog, daylight scenes slightly, menacingly overblown. Nobody played harried and world-weary better than Bogart.
1947's "Dark Passage," noir thriller, was written and directed by Delmar Daves, based on a novel by David Goodis, who wrote the novel on which "Shoot The Piano Player" is based. It's set in San Francisco of the 40's, and may be the best screen treatment of that city at that time. Once again, Sidney Hickox's noirish cinematography takes full advantage of its flavorful setting, hills, bay, staircase streets. The building in which Bacall's character, Irene Jansen, supposedly lives, and its glass elevator, and her duplex apartment, are masterpieces of the "moderne" style then highly popular. Bogart plays Vincent Parry, a doctor unjustly convicted of killing his wife; at the film's opening, he's just escaped from San Quentin, coming home to clear himself. For the first hour, we never see him, only see everything through his eyes, then a new filmic technique. The gimmick is, he has plastic surgery so as to no longer be recognizable; he then becomes the Bogart we know. Housely Stevenson plays the plastic surgeon Dr. Walter Coley: his scenes are treated in a most Frankensteinian way. The plot takes some truly odd turns: we're to believe that Agnes Moorhead, who is surely riveting, could give Bacall a run for her money in the Bogart stakes. As if. Bacall doesn't sing, but she looks sensational, and has, in addition to that apartment, some stylish clothes and jewelry -- note the Mexican opals. She's also got an eye-catching, memorable "woody" station wagon.
"Key Largo," 1948, directed by John Huston, was the last screen pairing of our two leads. It's based on a stage play by Maxwell Anderson, nominally set in the tropical Florida Keys. A wheelchair-bound Lionel Barrymore plays James Temple, owner of the island hotel; Bacall plays Nora, his widowed daughter in law. Bogart plays Frank Mc Cloud, who fought the Italian campaign alongside the Temple boy until he was killed. Mc Cloud goes to visit the Temples off-season, and discovers that a powerful hurricane's coming. And that they are being terrorized by Edward G. Robinson, one of the great movie villains, playing gangster Johnny Rocco. Clair Trevor, playing Gaye Downs, Rocco's moll, former nightclub entertainer, gets to sing this time. She does an acapella "Moanin' Low," a song popularized by Libby Holman in the early 30's, and won a Best Supporting Actress Oscar for it. Bogart plays an unusually quiet version of his "I stick my neck out for nobody character." But, such are the burdens of marriage, Bacall is uncharacteristically demure. She doesn't appear to be wearing makeup, her eyes are downcast, and her wardrobe seems to consist of one --dowdy-- outfit. She doesn't have those lines, either: Barrymore and Robinson get them this time.
These four films are the components of this collection. There will be no more by our two great leads, and they were certainly among the screen's most incendiary lovers. If you want them, this is it.
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