The Humphrey Bogart Collection (The Big Sleep/The Maltese Falcon/Casablanca/Key Largo)

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3 thoughts on “The Humphrey Bogart Collection (The Big Sleep/The Maltese Falcon/Casablanca/Key Largo)

  1. 35 of 37 people found the following review helpful
    2.0 out of 5 stars
    famous movie, May 20, 2004
    By A Customer
    This review is from: The Humphrey Bogart Collection (The Big Sleep/The Maltese Falcon/Casablanca/Key Largo) (DVD)

    I would wait for the two disc release ( if it ever arrives ) of Maltese Falcon, and Big Sleep.

    Maltese Falcon was sloppily restored, and is missing the tail end of the scene during which Bogart was threatened by Lorre, in Bogart’s own office. I do not know why the scene was deleted, but it came as a surprise!

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  2. 19 of 19 people found the following review helpful
    5.0 out of 5 stars
    Larry Carnes, May 15, 2002
    By 
    L. Carnes (Colorado, USA) –
    (REAL NAME)
      

    This review is from: The Humphrey Bogart Collection (The Big Sleep/The Maltese Falcon/Casablanca/Key Largo) (DVD)

    What a GREAT collection! Casablanca’s the trademark Bogart movie and one of the top five film classics for all time. Bogie and Bacall team together in the “Key Largo” and the “Big Sleep”. The “Maltese Falcon” is a fine addition to round the set out. After all, it was suspense film about “..the thing that dreams are made of”. If your shelf has room for two more Bogart favorites, I’d suggest “To Have and Have Not”, Bacall’s first film performance and “Treasure of the Sierra Madres”, directed by John Huston.

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  3. 26 of 28 people found the following review helpful
    5.0 out of 5 stars
    Here’s looking at you, kid …, February 21, 2004
    By 
    Themis-Athena (from somewhere between California and Germany) –

    This review is from: The Humphrey Bogart Collection (The Big Sleep/The Maltese Falcon/Casablanca/Key Largo) (DVD)

    Aaaahhh … Bogey. AFI’s No. 1 film star of the 20th century. Hollywood’s original noir anti-hero, epitome of the handsome, cynical and oh-so lonesome wolf (in this set alone, playing the Top 4 [Rick Blaine] and Top 32 [Philip Marlowe] guys on the AFI’s 20th century Top 50 film heroes list); looking unbeatably cool in his fedora, a cigarette dangling from the corner of his mouth. Endowed with a legendary aura several times larger than his real life stature, and still admired by scores of women wishing they had been born 50+ years earlier, preferably somewhere in California and to parents connected with the movie business, so as to have at least a marginal chance of meeting him.

    This set contains four of Bogart’s greatest successes; three of them (“The Maltese Falcon,” “Casablanca” and “The Big Sleep”) career-defining moments for both him and his female costars – now all of them Hollywood legends in their own right. Yet, looking at these movies’ and their stars’ almost mythical fame (“Casablanca,” on the AFI list of Top 100 20th century movies second only to “Citizen Kane,” and at No. 23 “The Maltese Falcon” not too far behind) it is difficult to imagine that, produced at the height of the studio system era, each of them was originally just one of the roughly 50 movies released over the course of one year. But mass production didn’t equal low quality; on the contrary, the great care given to all production values, from script-writing to camera work, editing, score and the stars’ presentation in the movies themselves and in their trailers, was at least partly responsible for their lasting success. So, the release of “The Big Sleep” was delayed for a year not only because its first version was completed around the end of WWII and Warner Brothers wanted to get their still-unreleased war movies into theaters first, but also, significantly, because Bacall’s agent convinced director Howard Hawks to reshoot several scenes to better highlight the sassy, mysterious new star 19-year-old Bacall had become after her first movie with Bogart, the 1943 realization of Ernest Hemingway’s “To Have and Have Not” (likewise directed by Hawks and scripted by William Faulkner and Jules Furthman; conversely to “The Big Sleep,” however, without any input from Leigh Brackett). And even more famously, the screenplay for “Casablanca” was constantly rewritten even throughout the filming process, to the point that particularly Ingrid Bergman was extremely worried because she was unsure whether at the end she (Ilsa) would leave Casablanca with Victor Laszlo (Paul Henreid) or stay there with Rick (Bogart).

    “The Maltese Falcon” (1941), directed by John Huston and based on Dashiell Hammett’s 1930 like-named novel, transformed Bogart’s on-screen persona from the tough, often two-dimensional gangsters he had portrayed before (beginning with the 1936 adaptation of Robert Sherwood’s “Petrified Forest” where, like in its 1934 stage production, Bogart had starred opposite Leslie Howard, with Bette Davis as the female lead). Imbuing his tough guy shell with a softer core, Bogart instantly became Hammett’s Sam Spade and, moreover, the film noir anti-hero per se; a role that stayed with him throughout the rest of his career, and in which he still remains virtually unparalleled. Also contributing to the movie’s success were Bogart’s outstanding costars; first and foremost Mary Astor as the double-crossing Brigid O’Shaughnessy and Peter Lorre and Sydney Greenstreet in one of several appearances opposite Bogart as Astor’s competitors for possession of the Maltese Knights’ mysterious, immensely precious gift to Emperor Charles V.

    “Casablanca” (1942), directed by Michael Curtiz, was based on Murray Burnett and Joan Alison’s play “Everybody Comes to Rick’s,” but renamed by the studio which wanted to tag onto the success of its 1938 hit “Algiers” (starring Charles Boyer and Hedy Lamarr). Further expanding Bogart’s increasingly complex on-screen personality, it added a romantic quality which had heretofore been missing (eventually making this the AFI’s Top 20th century love story, even before the No. 2 “Gone With the Wind”), with a unique, inimitable blend of drama, passion, humor, exotic North African atmosphere, patriotism, unforgettable score (courtesy of “As Time Goes By,” Max Steiner and Louis Kaufman’s violin) and an all-star cast, consisting besides Bogart, Bergman and Henreid of Claude Rains (Captain Renault), Dooley Wilson (who, a drummer by trade, had to fake his piano playing as Rick’s friend Sam), Conrad Veidt (Major Strasser) and again Sydney Greenstreet (Ferrari) and Peter Lorre (Ugarte). And the movie’s countless famous one-liners have long attained legendary status in their own right …

    “The Big Sleep” reprised Bogart’s noir gumshoe role, this time based on Raymond Chandler’s first (1939) Philip Marlowe novel. Despite the stellar caliber of its screen writers, the movie is as infamous…

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