A man forcibly kisses a woman for a second. Nothing happens after that though.


Film review:Translated by www.rabudo-ru.com


Humphrey Bogart: Night Walker

In any way, Bogart is always a Night Walker.

——Henri agel

I kissed him, but I never knew him.

——Ingrid Bergman

On October 17, 1939, George raft, a first-line star of Warner company, swore to write to Jack L. Warner, the boss of the company, complaining angrily:

When I came to your house, you told me… I didn’t have to play those dirty villains… I told you at that time that I was afraid the studio would let me play those roles that Humphrey Bogart should play, and you replied to me that I never had to play a role of Humphrey Bogart.

Just five years ago, Humphrey Bogart signed a contract with Warner as a little star; Just five years later, almost everyone at Warner hated him. Five years ago, producer Arthur Hopkins fell in love with the little actor who was still struggling on Broadway and asked him to play the role of killer Duke Mantee in the fossil forest, He still didn’t think much of the ordinary looking little star: “when I saw this actor, I hesitated for a while, because he was the kind of actor I would never appreciate. He was a young and mature boy, and he spent most of his life on stage wearing white pants and waving a tennis racket. He didn’t look like a cold-blooded killer, but his voice (dry and tired) but it’s very similar. That’s Mantee’s voice. ” However, when Warner bought the copyright of the play and wanted to make it into a film, they still refused to use Humphrey Bogart. They hope their first-line star Edward g. Robinson can play the villain; Fortunately, Leslie Howard, a good friend of Bao Jia and also the protagonist and producer of the film, sent a telegram:

To: Jack Warner. I insist that Bogart play Mantee. No sign without Bogart. L. H.

Jack Warner compromised, but he didn’t want to let Bogart go. He told Bogart that he had to take a stage name, which was silly now. Bogart stubbornly refused.

Thus, the most well-known and worshipped name in the history of film was saved. Bogart got a middle-class salary of $550 a week from Warner company and enjoyed playing bad guys. He is indeed a villain. He is a playboy, and in fact, his third wife, Mayo methot, thinks so. The drunken couple tortured each other in a way similar to abuse. Slapping and throwing furniture at each other have long been common. On several occasions, she even set fire to their house and inserted a knife into him.

In the studio, Bogart is still the target of public criticism. No one wants to play those roles that “should be played by him”. In 1939, George rafter refused to play the role of it all come true because it was a “role for Humphrey Bogart”; Later, both George Ralph and Paul Muni refused to play in high Sierra. IDA Lupino, the heroine of the film, was “reduced” to only playing with Bogart. Therefore, when she was selected to play in the next film out of the fog, she claimed that if the studio still chose Bogart and his partner, Then she can only resign resolutely.

In 1941, Warner wanted Bogart to partner with George Ralph in manpower. Not many days later, Bao Jia sent a telegram to producer Hal B. Wallis, with anger and helplessness between the lines:

Dear Hal: I just think George is a friend. I know, because I want to play in this film, he refused to join… I’m very sad because this is the second time I can’t play a good film and play a good role, and this is just because an actor refused to cooperate with me.

Therefore, before Baojia became Baojia, he was on the verge of unemployment. No one wants to cooperate with this grumpy drunkard. “No one can discuss it gently with me. I always turn it into an argument. I think it must be because of my voice or my arrogant face – there must be something that makes everyone angry. No one will like me when they see me. I think that’s why I always play bad guys.”

Perhaps, it is fate, or the times, the obstacles in Bao Jia’s art career have become his push, and all his anger, gloom and irritability have made this new generation of star. Later in 1941, Warner decided to remake Dahir Hammett’s famous work the Maltese eagle, directed by John Huston, who first directed the microphone. The famous George Ralph still played the role of private detective Sam spade. As always, George Ralph, who was too wise to protect himself, still wrote to Jack Warner and complained:

As you know, I strongly believe that the Maltese Eagle you asked me to take over is not an important film. Therefore, I must remind you that before I signed a new contract with you, you promised me that you would not ask me to play in any film unless it was an important film.

George Ralph has no confidence in John Huston, the new director, and thinks it’s just a remake without any new ideas. The role of Sam spade finally fell into the hands of Bao Jia in all kinds of helplessness.

Although he didn’t have the casting right, John Huston may still be secretly pleased that the studio chose Bogart. The friendship between the Two Drunkards began with sleepy Ferris ridge at night. John Huston was the screenwriter of the film, while his father and legendary actor Walter Huston partnered with Bogart in the film. Bao Jia worships Huston. He obviously thinks he is a talented screenwriter and director. For an actor who likes drinking and quarreling, nothing is more suitable than a director who likes drinking and quarreling as much as he does.

There is no doubt that Huston is the most important figure in Bogart’s life. It is his role of Sam spade in the eagle of Malta that makes Bogart a new generation of personality male star. We don’t know whether Bogart or Huston endows this character with such ambiguous charm, but we are very clear that without Bogart, the eagle of Malta will become a weak film.

This is a cynical loner. The world is constantly attacking him, and he must overcome it so that he can control his life. No one can be trusted. “Everyone has something to hide,” he once said. Spade himself is such a person who relies on covering up and changing his identity to maintain his asthma. He spoke bitterly, his eyes were cold, and he looked at the world without emotion, As Bazin so accurately describes: “He’s not Gary Cooper or Douglas van punk! Whether he’s a villain or a detective, his success is first because he can hit the key, and then his keen insight. His attack efficiency proves his strength and his ability to deal with it. He’s always right, accurate and powerful, and most importantly, at the right time. He doesn’t shoot many times, but he can always make him right Fang is in a hurry. Then, the revolver that fell into his hands became a weapon with brains, and all arguments were silent immediately. ”

He expected to be close to people, but his paranoia and desire to rule overturned this false beauty. Like Sam spade, Bogart always shrinks his hands nervously and is ready at any time. When someone questions his authority, he will wriggle his fingers. When the enemy is defeated, he will smile at him or spit a smoke circle in his face.

This almost obsessive behavior is not so much an attack as a self-protection. For that kind of masculinity at stake. In the film, when spade kisses the snake and scorpion beauty Brigid for the first time, he deeply pinches her throat with his hand. A gentle moment becomes terror, which easily reminds people of the relationship between Bao Jia and his first three wives. He is always avoiding dangerous intimacy and reiterating men’s physical conquest of women with violence. Indeed, no one can understand Baojia. “Every time he speaks, it’s hard to figure out. His jaw makes people think of the mouth of a living dead body that can’t be closed, and the last expression of a sad man who is about to disappear with a smile. It’s the real smile of death.”

If Bogart is only the embodiment of masculinity in the relationship between spade and Brigid, then the metaphor of masculinity between spade and Cairo interpreted by Peter law has become an abstraction: when they first met, spade was licking cigarette paper to make incense cigarettes, while the latter stroked his umbrella with frivolous steps, This is obviously a gay role. After that, spade took a cigarette in his mouth and beat Carol hard. In Bao Jia’s wonderful interpretation, this scene has a certain ambiguous nature of sadism / masochism. Spade is so afraid of the loss of his masculinity that he turns the fear of homosexuality into a scene with strong sexual implication.

Whether spade in the Maltese eagle or Marlowe in the equally famous long night dream, Bogart’s characters are always tough, introspective, emotionally repressed, and like cigarettes and whisky; He is always the man who is determined by fate. The lines left on his face by drinking reveal “the suspended corpse residing in each of us”. He is not only the God of death, but also a desperate resistance to death. Those who understand Bogart, like truver and Bazin, will always point out the inevitability of Bogart’s fame: his screen image is always related to the depression of the general will of the United States after the war. He was destined to be bound together by the genre called black film. His existence is not so much to show contempt for the values of the middle class as to be an existence for existence. In the dirty underground world, or in the same dirty Hollywood, he exists to survive. No one can understand the truth and bitterness better than Bogart. “As soon as he came out, it was the dawn of another dim day; after he narrowly won the fierce fight with the God of heaven, his face was full of what he saw and wrote all the inside information he knew. He had escaped death ten times. Don’t ask. He would support us again.” Bazin said passionately.

Let’s go back to Bogart’s time again. His time is not the time of John Wayne. He is the opposite of John Wayne. If Wayne’s cowboys are active, victorious and fearless, Bogart is passive, abused and morbidly curious. He is never handsome, even a little old-fashioned. Well, maybe it’s because God gave him this ordinary figure and appearance and that bad temper: he’s short enough to show the anger of gangsters; He is tall enough to preserve some dignity of the cowboy; His body is hard, so he can be as agile as a hero in a city movie; Of course, who can forget the symbolic scar on his mouth? Therefore, his words are always so unclear, but they always have to be as witty and unforgiving as shooting.

Bogart, it may always be a mystery.

“Play it again, Sam.”

——The tenderness of the king of cool

In 1972, Woody Allen produced a film honoring Humphrey Bogart and named it play again, Sam. This may be the most famous line Bao Jia said, but in fact, Bao Jia never said this sentence. This legendary line comes from Casablanca. Rick in the film is one of the most human characters Bogart has ever played in his life. When in our imagination, Bogart will always be the king of cool, the tough guy who is addicted to dragon tongue wine and cigarettes, and the existentialist who hovers above the boundary line between good and bad, Bogart in Casablanca is immersed in the entanglement between the past and reality, and disintegrates in the dispute between personal emotion and nationalism.

“What nationality are you?”

“I’m an alcoholic.”

Before 1942, Bogart was neither an alcoholic nor a patriot. To some extent, the outbreak of Pearl Harbor Incident contributed to the transformation of Baojia’s career. If Americans faced a cruel, cunning and dark villain like Hitler in World War II, in films such as across the Pacific, Bogart was not only Hitler’s villain, but also his twin brother. He was also cruel, cunning and dark, full of hostility and distrust of democracy, But still on the side of the United States at the critical moment. Bogart suddenly changed from a villain to a hero, but only Casablanca erased the Cynic’s coldness and gave him a gentle night.

However, for the “notorious” Ingrid Bergman, Bogart is still the private detective spade. “I kissed him, but I never knew him.” She complained, “he came out of his dressing room, finished his part, and then left.” For Bergman, a star who takes every film as a Romance game, Bogart seems to be a stoic ascetic. Of course, this time, Bergman didn’t even know who he should love. Casablanca, the greatest film in film history, was at first just a quick work. After filming the scene of the previous day, the actors could not even determine the script of the next day. Bergman asked director Curtis from beginning to end whether she should love Bogart’s Rick or Paul Henry’s victor. “Try to keep an ambiguous attitude between them.” Curtis replied. Well, a potential story in the film history was strangled. There was no spark between Bergman and Bogart. Moreover, Bogart was several centimeters shorter than Bergman and had to wear high shoes to play with Bergman every day. Many years later, when Bogart met Bergman again, Bergman was already the wife of Italian director Rossini. “You used to be a good actor,” Bogart said sarcastically, “what are you now?” “A happy woman.”

LEAVE A REPLY

Please enter your comment!
Please enter your name here