Don't waste your time, sweetheart. You know as well as I do it'll bounce right off.
Who was Irene Manning aiming her gun at a few days ago? Bogart, who's so cool he can't even be bothered to pretend concern. In real life it isn't quite so easy to be hard-boiled with a gun pointed at your center mass. Did we mention the time we spent living in Central America? One day maybe we'll tell you the story of how one of us had a shotgun aimed at our spine, which preceded a home invasion, drawn knives, spilled blood, and retribution involving someone getting shot in the ass. Anyway, concerning Manning and Bogart, now the picture is complete.
Bogart and Bacall mix love and career.
Above, two Luigi Martinati posters for Il grande sonno, aka The Big Sleep, with stars and spouses Humphrey Bogart and Lauren Bacall. These posters are more colorful than the U.S. versions because Warner Brothers had cut back on printing costs due to World War II. But when the film came out in Italy today in 1947 a full palette of color had returned to the mix. See a small collection Martinati's great work here.
The greatest trick the Devil ever pulled was convincing the world it was an adventure film.
Above, a beautiful poster for John Huston's love-it-or-hate-it comedic African film Beat the Devil, which premiered in the U.S. today in 1954 and starred Humphrey Bogart, Gina Lollobrigida, Jennifer Jones, and Peter Lorre. This poster, while cool, is completely misleading. Beat the Devil is not an adventure. When it was made there was no category for it, but today such movies are called "camp." Only over time have audiences come to understand it. We wrote about it awhile ago and shared a Belgian poster, here.
They say you can't have everything but To Have and Have Not comes close.
This one has been a long time coming to Pulp Intl. To Have and Have Not. We love this flick. We never bothered to highlight it because it's so familiar to so many, but with the Pulp Intl. girlfriends out of town (did we mention that yet?) we decided to revisit a few movies we've seen often. First off, we get it, Hemingway fans. The film mutilated his 1937 novel. But what a shock—Warner Brothers was not going to make a Marxist themed movie in 1944. Hemingway may have, we like to imagine, wanted to keep the book out of Hollywood's hands for that very reason. But when Warners came across with a fat offer he was like, “Well, sure, okay, I suppose that amount of money will take the sting out of you whitewashing my Marxist opus.” You, see everyone has a price.
Howard Hawks directed, and Jules Furthman and William Faulkner wrote a screenplay that changed the location of the novel, its time period, its subtext, and its characters. Basically, Warners wanted a follow-up to Casablanca, and that's exactly what they got, though To Have and Have Not differs from Casablanca by being light-hearted in general, and wickedly comical in parts. But there are also thrills aplenty. The basic idea is Humphrey Bogart plays a diffident charter boat captain in French Martinique who finds himself drawn into World War II thanks to an idealistic anti-Vichy cabal that plans to rescue a French patriot imprisoned on Devil's Island.
Everything and everybody in the film is great. Lauren Bacall, in her debut, brings just the right tone to her character Marie Browning, Walter Brennan puts on a physical acting clinic as Bogart's alcoholic sidekick, and as the Vichy administrator of Martinique, Dan Seymour channels Major Strasser from Casablanca, adding a touch of torpor meant to disguise his snake-deadly nature. The film also adds great music performances in the down and dirty Bar du Zombie and the café of Hotel Marquis, with Hoagie Carmichael taking on the Sam role from Casablanca. To Have and Have Not is so iconic it has been studied in university courses and written of in modern treatises about race. The latter is a lot to pile onto this lightweight adventure. Set in the Caribbean, it tries to at least portray a high level of racial inclusiveness, though not perfectly.
There's one more reason to watch the movie. We've seen it so much we've developed a drinking game from it. We've developed lots of drinking games from movies, but don't generally play them when the Pulp Intl. girlfriends are around (did we mention they're out of town?). Take a shot every time someone throws something in the water. That's it. Bottles, matches, whatever. If you're really brave, take a shot every time someone litters, whether at sea, on land, or indoors. It's interesting to observe littering behavior from an era when the environment was thought to be boundless and impossible to ruin. As members of a generation trained to get our garbage in a receptacle at all costs, the polluting here is really funny to see. 10 out of 10 for this movie. Watch it. Love it. Watch it again. It premiered in the U.S. today in 1944.
Divorce probably would have been the easier option.
Conflict was Humphrey Bogart's follow-up to the crowd pleasing To Have and Have Not, and he takes a dark turn as a man whose bad marriage is complicated by the fact that he's fallen in love with his sister-in-law. He's willing to kill to be free, but his plan goes sideways, as they always do. We won't go into detail except to note that, interestingly, Bogart begins to see the same jumbled pyramidal shape everywhere—in a pile of fallen logs, in an architectural drawing, in the kindling set up to start a bonfire, etc. It's a Hitchcockian touch designed to symbolize the inner conflict of the title, but why exactly is he seeing these things? Is it because he killed his wife? Or because he botched his opportunity and now she's trying to drive him insane? We won't tell you. We'll only say that the winding road toward a resolution is reasonably entertaining, and Bogart can pull even a flawed film to the positive side of the ledger. Conflict, which co-starred Alexis Smith and Sydney Greenstreet, premiered in the U.S. today in 1945.
Bogart and Bacall arrive in Italy in Grande style.
Above, a beautiful poster for Il grande sonno, better known as The Big Sleep, with Humphrey Bogart and Lauren Bacall. Was Bacall a redhead? Well, she was in Italy. At the top of the poster you see that this played at the Politeama cinema. Rome? Naples? Palermo? Genoa? Cinemas with that name abounded, so we have no way of knowing exactly where the poster was displayed. You'll see the art attributed to Luigi Martinati on various websites, but we don't think so. It doesn't look like his work, and it's actually signed “Nico” near Bacall's right thigh. Martinati did paint a couple of posters for this movie, though, which we may upload later. We've talked about The Big Sleep—as has every other film noir related site on the internet. We don't have any special insights, but if you're curious what we said anyway, check here. After opening in the U.S. in 1946, The Big Sleep arrived in Italy today in 1947, which the poster tells us was martedì—a Tuesday.
The house that Bogart built.
The first time we watched Casablanca years ago we were impressed by so many aspects of the film, but perhaps most by its humor. There are laugh lines scattered throughout the first half of the script, but by far our favorite bit is:
Major Strasser: “What is your nationality?”
Rick Blaine: “I'm a drunkard.”
It's impossible to overrate the movie. Only iconoclasts don't like it. The above poster befits such a landmark film. It was painted by Bill Gold for the movie's U.S. run, which began in New York City today in 1942. You can see two more incredible Casablanca posters here.
Bogart traipses down the Gardner path.
This stunning Belgian poster was made to promote La comtesse aux pieds nus, which was the French title of the Ava Gardner/Humphrey Bogart drama The Barefoot Contessa. Along the bottom you see the title in Dutch as well—De barrevoetse gravin. We've seen the film, but we're not to going to discuss it, at least not today. Let's just say Humphrey Bogart's character narrates the life and times of Ava Gardner's memorable and much desired character, and the result was a film panned by several important critics upon release but thought of more fondly as time wore onward, as older movies often are. It premiered in Belgium today in 1955, so we just wanted to share its brilliant promo. As you probably know by now, artists were often asked to produce similar versions of the same poster for different markets. The German promo was painted by Rolf Goetze and it's close to what you see above. The French promo was painted by Henri Cerutti, again with near identical content. Who gets credit for the Belgian poster is unknown to us, but it's an amazing effort.
Clothes encounters of the Hollywood kind.
We've been gathering rare wardrobe and hairdresser test shots from the golden era of Hollywood, and today seems like a good day to share some of what we've found. It was standard procedure for all the main performers in a movie to pose for such photos, but the negatives that survive tend to belong to the most popular stars, such as Cary Grant, who you see at right. You'll see Marilyn Monroe more than amply represented below. What can we do? She's possibly the most photographed Hollywood figure ever, and she was beautiful in every exposure. But we've also found shots of a few lesser known stars, such as Giorgia Moll and France Nuyen.
Some of the shots are worth special note. You'll see Doris Day as a mermaid for The Glass Bottom Boat, Liz Taylor as a kid for National Velvet and an adult for Cat On a Hot Tin Roof, Farrah Fawcett in lingerie, Sheree North in both front and rear poses, and Yul Brynner looking like an actual man by sporting a body that had to that point seemingly known neither razor nor wax (he ditched the fur for his actual onscreen appearances). Usually the photos feature a chalkboard or card with pertinent information about the production and star, but not always, as in the case of Brynner's photo, and in Audrey Hepburn's and Joan Collins' cases as well. If the names of the subjects don't appear on the chalkboards you can refer to the keywords at bottom, which are listed in order. We may put together another group of these wardrobe shots later.
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