"Mr. Oxley's been complaining about my punctuation, so I'm careful to get here before nine."

The screwball comedy genre was at its peak in the 1930s. The master of the screwball comedy was Cary Grant. His proper English accent and refined manners went perfectly with scripts that were absurd. By the time 1952 rolled around though, Grant was known equally for his comedic abilities and his dramatic acting skills. Monkey Business (1952), not to be confused with the Marx Brothers movie of the same name released in 1931, is a return for Grant to the genre that made him famous.

Howard Hawks was brought on to direct the picture. Like Grant, Hawks was capable of directing both great comedies and outstanding dramas. Hawks had the distinction at this time as being one of the few Hollywood directors who was not typecast, such as John Ford and westerns. Hawks made westerns, film noir, screwball comedies and just about anything else.

Playing opposite Cary Grant was the great musical actor, Ginger Rogers. The two are great as Barnaby and Edwina Fulton. Our story revolves around the couple. Barnaby is a scientist who is working on a drug that will make people young. The idea of becoming young through a drug or potion seems to be a popular one even today.

Barnaby believes he has found the correct formula. His absent mindedness prevents him from remembering just what it was though. Luckily for him chance, and a screenwriter, helped him out as a monkey in the lab decided to mix some chemicals together and then pour them into the water cooler. This concoction is just what Barnaby was looking for. He takes a sip from the tainted cooler and immediately acts young again.

He no longer needs his glasses. He runs out and buys a sports car. He takes his bosses secretary, Lois Laurel, played by Marilyn Monroe, on a joy ride. The two go swimming and roller skating together and Barnaby even gets a young man’s haircut. All this thrills Barnaby and Lois. It frightens his boss, Mr. Oxley. It disgusts his wife Edwina, who becomes very jealous of the relationship Barnaby and Lois have.

Of course since the formula was not discovered by Barnaby, but actually present in the water cooler, anyone has access to the formula. Edwina is the next to become young after Barnaby regains his age and poor eyesight. She becomes a young troublemaker who wants to relive her honeymoon night with Barnaby. Of course the couple spent their honeymoon down in La Jolla. Barnaby does not want to make the long drive down, but Edwina insists and the couple speeds down the coast.

When they arrive at the hotel, Edwina finds out there is a ballroom where swing dancing is going on. Of course she wants to do this and the aged Barnaby can not keep up with the teenage acting Edwina. This allows the audience to see Ginger Rogers dance though, which is something everyone expects when they see a movie with Ginger Rogers in it.

After some troubles that night, in which Edwina calls her mother and old boyfriend and wants to divorce Barnaby, the effects of the potion wear off. Edwina and Barnaby make up, but the damage Edwina did to their relationship that night still has to be resolved as her mother and former boyfriend along with the press are at their house when they arrive around midday.

From here the formula for the potion is torn up by Barnaby, as he feels the public is not ready for such a drug. Of course we know the reason why everyone is behaving so oddly is because of the water cooler. This is lost on Barnaby and Edwina. They both turn younger and it is up to Mr. Oxley to try and find out what the formula was from the young Barnaby so that he can make his own transformation as well as a ton of money by marketing the product.

The movie ends, as most screwball comedies do, with a huge climatic scene filled with zaniness. Then everyone lives happily ever after once the problem, in this case the tainted water, is discovered and rectified. The water is poured out and the cooler cleaned so nothing like this would happen again.

Although the stars of the movie were Cary Grant and Ginger Rogers, Fox made sure Marilyn Monroe appeared in as many advertisements as possible. At this point she was a hot commodity with fans and a huge moneymaker, no matter how much studio executives doubted she had talent. It would still be a couple more pictures before the studio would decide to let her star in a color picture, but the rise to stardom for her was certainly moving faster than it was even a year prior to this point.

The same old story

Couples who think they are married, but really aren’t, is a storyline popular among Hollywood farces. Classic Hollywood has dealt with this subject many times. Even a director like Alfred Hitchcock made a movie using this storyline with Mr. and Mrs. Smith (1941), not to be confused with the Angelina Jolie and Brad Pitt movie.

Fox decided to make a movie along similar lines about a decade later with the aptly named We’re Not Married (1952). The twist here is that there is more than one couple that isn’t married. So instead of focusing on the decision one couple will make, to remain married or go their separate ways, we get to see five such couples. A short movie like this does not allow time for deep character development though.

Bumbling justice of the piece Melvin Bush ends up learning that he did not have the authority to marry five couples when he believed he was justice of the piece. He in fact had not been approved and only discovers this mistake two years later. So he has to send out letters to the five couples in order to tell them they aren’t married.

Ginger Rogers appears as Mrs. Steve Gladwyn. The Gladwyns were the first couple the justice married and they have ended up despising each other, despite appearing in the opening scenes as a happy couple. They eventually decide to remain married in order to keep their lucrative radio show, in which they give advice to other couples, on the air.

Marilyn Monroe is a beauty contest winner. She earns the title of Mrs. Mississippi. When she learns that she isn’t married, she faces the probability that her crown will be lost. This doesn’t deter her though as she decides to compete in the Miss Mississippi pageant, which is much more prestigious. Her “husband” and baby look on in delight, as do hundreds of other males, when she wins the Miss Mississippi crown.

The best comedy of the movie occurs when the “husband” Jeff Norris overhears someone admiring his “wife’s” looks. He asks the man if he likes what he sees. The man replies yes. Then Mr. Norris explains that the woman the man so likes is his wife. The admirer is embarrassed, but Mr. Norris says it is alright. He has to get used to it. This is something Joe DiMaggio never got used to when he married Marilyn Monroe.

The Melrose couple is composed of Louis Calhern and Zsa Zsa Gabor. Calhern is a wealthy businessman who has Gabor as his trophy wife. Gabor decides that she will divorce Calhern to get half his estate. Calhern hates this idea, but when the letter comes stating that the two aren’t married, he goes along with the plot. He gets the last laugh and Gabor ends up fainting when she finds out they were never legally married.

The movie spends most of the time on Monroe and Rogers, as they were the two Fox players in the movie. The other two couples are not developed well enough and don’t contain the name power like Louis Calhern and Zsa Zsa Gabor do.

Nunnally Johnson, who was good friends with Groucho Marx, wrote and produced the movie. Unfortunately, there are no Groucho Marx moments here. The pacing is stilted and the characters are not completely developed. This wouldn’t be the last time Johnson and Monroe would work together. They teamed up again on How to Marry a Millionaire (1953). Johnson wrote and produced the movie, but could not stand working with the new star Monroe. As for this teaming up, the movie has some bright spots, but not enough to warrant more than one viewing.

"Home is where you come when you run out of places."

For the third time in her career, Marilyn Monroe would play a bit part in a movie from a major director. Clash By Night (1952), was less successful than The Asphalt Jungle (1950) and All About Eve (1950). It was not because it lacked star power though. The failings of this movie come in its story.

Clash By Night began as a Broadway play written by Clifford Odets and starring Tallulah Bankhead. The play was a flop on Broadway, but that didn’t stop Hollywood producers from grabbing it. In the play there was a murder and the action was set on Stanton Island. In the movie there is no murder and the location has changed to California.

The movie and play both revolve around a love triangle. There is Mae Doyle, who has gone off to find her fortune and fame only to return back to her brother’s house with nothing. Her brother Joe works on a fishing boat owned by Jerry D’Amato. Jerry has the hots for Mae and because feels like she can’t do any better, she decides to marry Jerry. Things go alright for the married couple. Jerry feels like he has everything in the world. Mae is content with her life, but not happy.

Happiness comes into Mae’s life in the form of Jerry’s best friend Earl. The two begin sneaking behind Jerry’s back. In the play Earl was murdered when Jerry found out about the relationship. In the movie Mae is forgiven for her wrongdoing by Jerry and the two live reasonably happily ever after.

As mentioned above, the star power present in Clash By Night is the biggest reason to watch the movie. Barbara Stanwyck plays the role of Mae. She is her usual tough and scrappy self. It was not a stretch for her to play the part.

Marilyn Monroe appears briefly as Joe’s girlfriend, a cannery worker who contrasts the personality of Mae perfectly. Marilyn’s character has similar aspirations as the young Mae did, but instead of leaving town for the big city, she remains to marry Joe.

Of course when publicity cameras came around to take shots of the cast, there was a lot of attention paid to Marilyn. This did not sit well with Paul Douglas who plays Jerry. Not only is he getting screwed over in the movie, but in the publicity as well. He was not happy that some unknown bit player who appeared on screen for a few minutes was getting all the attention from the cameras.

Rounding out the love triangle is Robert Ryan who plays Earl. He became Marilyn’s only real ally on the set. Paul Douglas did not like her, even before the publicity incident. Barbara Stanwyck was basically indifferent to the young actress. And director Fritz Lang could not stand her.

Lang was a tremendously successful filmmaker in Germany. His movies Metropolis (1927) and M (1931) were critically acclaimed. The odd thing is that Lang’s films were praised by the Nazis. Hitler was a huge fan of Metropolis. His wife was even a big supporter of the party. But in the face of fascism, Lang decided to make the move to America. He arrived in Hollywood and turned out some decent movies, such as Fury (1936) and The Big Heat (1953).

He was an extremely controlling person. He was notorious for being hard on actors. This did not sit well with the shy Marilyn Monroe. She was scared of him. Her acting coach Natasha Lytess would give Marilyn pointers after every take. Lang did not like this as he felt his authority was being undermined. It was not a pleasant experience for Marilyn once Lang got Lytess thrown off the set.

Today Lang is not as well known as he probably should be. He was a pioneer in the silent cinema and his first sound picture dealt with the murder of children. But like Sergei Eisenstein something happened when he left his home country that prevented him from continuing to be a great filmmaker. That being said, he still deserves a place with the elite directors of cinema.

Back from overseas.

At this point in her career, Marilyn Monroe was typecast as either a dumb-blonde secretary or girlfriend or her own woman in a B-comedy. The first example of the later is Love Nest (1951).

Love Nest is not that bad of a movie for being a B-comedy. It breaks no new ground, but it is good entertainment. The story revolves around the Scott couple, Jim and Connie. Connie, played by June Haver, has bought an apartment building in New York. This is a huge surprise to Jim, played by William Lundigan, when he arrives home from the army. He expected a nice quiet apartment. Instead he has become landlord for an apartment building that needs a lot of fixing up.

The comedy comes as the couple tries to improve their love nest and as Jim is continually interrupted from his writing by problems that occur in the apartment building.

As with any apartment building, single tenants become interested in each other. This is the case for Eadie Gaynor, played by Leatrice Joy. Eadie falls for Charley Patterson, played by Frank Fay. Charley is an older gentleman, while Eadie is Connie’s best friend. It appears that the love next is expanding to include two happy couples. Here are where complications are thrown in.

First with Connie and Jim. Jim tells Connie that his friend, Bobby, from the army has written him and wants to stay in their apartment building. Connie says alright, as she wouldn’t want to look like she discriminates against veterans. Connie is shocked when “Bobby” shows up and is actually Marilyn Monroe, who plays Roberta Stevens, known to friends as Bobbie.

Connie doesn’t like what her husband has done to her and is jealous of Roberta. But she can not worry too much about this problem as it is discovered that Charley is not a rich old man, but rather a con artist. Connie fears for her best friend Eadie, as the two are planning on getting married. Jim can’t believe that the nice old man is really a criminal.

Charley admits that he is a criminal, although he pledged that he would not revert to his old ways once he married Eadie, as he believes he has finally found true love. Eadie feel bad for Charley, as do Jim and Connie, but things work out for the couple. Connie has the apartment building running well and Jim gets an opportunity to be a writer. Charley offers to tell Jim his life story for a biography. The book ends up being a best seller and the couple ends up happily ever after.

The acting is hit or miss here. That probably has something to do with the characters though. Charley and Roberta are the most interesting characters and Frank Fay and Marilyn Monroe give the best performances. Leatrice Joy is also good, but June Haver and William Lundigan are nothing special. Their characters might be the focus of the story, but the story is about two common people trying to make things work. So the actors don’t have to be of the Shakespearian quality to make this work.

Will you love me in December?

Like any aspiring star in the studio system, Marilyn Monroe had to make her fair share of B-movies with a small role for her and a stock story. One such movie is As Young as You Feel (1951).

The movie is about a man who has reached the age of mandatory retirement at his big company. The company is so big that it is called the Acme Company, this originally is what made the studio system great. Anyway, the man wants to remain on the job as he has nothing to do in retirement and his family can’t stand having him around. So he decides to dress up as the president of the company and do a routine inspection of his branch’s plant in order to change the company policy.

Here is where the story has a bit of social value. It is an indictment of the big businesses in the capitalist system. No one at the branch knows what the president of the company looks like, so they believe the imposter. The head of the branch has a secretary who is played by Marilyn Monroe. She tries to calm her boss, but he is frantic and flustered when he meets the “president” of the company.

Things go well for our formerly retired hero as he tours the plant and makes sure the policy is rewritten. Things begin to go wrong though when he is asked to speak at a local business meeting and accepts. Newspapermen are there and snap the imposter’s picture. They run an article praising the “president” of the Acme Company for his great speech. Well, the real president of the company sees this and wants to know what is going on.

In the end, the man is exposed as an imposter, but gets to remain on the job even after the age of retirement because he likes it and has done a good job. Everything ends happily.

At least on the screen that is. In Marilyn Monroe’s personal life, some troubles occurred during the making of the movie. Her long time friend and agent Johnny Hyde took ill and died. Hyde was an agent at William and Morris and he got her the part in All About Eve (1950) and a nice seven-year contract with 20^th Century-Fox. He even offered to marry her and leave all his money to her, but she didn’t accept as she didn’t truly love him. She did, however, make all the funeral arrangements.

One bright spot in Monroe’s personal life came while she was shooting a scene one day. Elia Kazan and Arthur Miller walked onto the set. Kazan wanted Miller to see Monroe. Why Elia Kazan would care a thing about an unknown bit-player is anybody's guess, but Miller was quite impressed by Marilyn Monroe. She felt the same about him. This first impression each got of the other lasted a long time and when both were available, they married.

"Why do they always look like unhappy rabbits?"

Few movies have been accepted better by the Motion Picture Arts and Sciences than All About Eve (1950), which received 14 Academy Award nominations. Only Titanic (1997) has received that amount. The movie won six Oscars, including best picture. It is similar to Titanic in that way. It is dissimilar because the audience doesn’t know what will happen in the end, unlike the ship that is destined for an iceberg.

Ironically, for a movie about two competing Broadway actresses, Bette Davis and Anne Baxter competed against each other for the Best Actress Oscar. Neither won. In fact in a year in which Sunset Blvd. also was released, and Gloria Swanson was nominated for her performance, no actress who played an actress in a movie won the award. It went to Judy Holliday for Born Yesterday. It is believed by some that Baxter and Davis split the votes, and had they not then one of them would have won the award.

On the surface it appears that All About Eve is a heartwarming story about a young actress, Eve Harrington, played by Baxter, who comes of age to become the star of Broadway. But in the realm of the theater, and Hollywood, appearances aren’t everything. There is a nasty underbelly to the theatre world and it is captured perfectly here by Joseph L. Mankiewicz who wrote and directed the picture.

Margo Channing, played by Bette Davis, is an aging Broadway star. She knows it, the critics know it, the producers know and her friends know it. The fans might know it, but they are always the last to figure these things out – or so the belief is in Hollywood and Broadway.

One night after giving a stellar performance, Margo retreats to her dressing room where she meets an adoring fan named Eve. Eve tells Margo a sob story about how she is an actress from Milwaukee who saw Margo one night in San Francisco and was so impressed with her performance that she has followed the actress around ever since. The ushers at the theater can vouch for Eve because they have seen her attend every one of Margo’s performances.

Margo is flattered and Eve is brought on as her secretary. Soon Eve becomes Margo’s understudy. Margo gets a kick out of this because she adores the attention. She also gets an opportunity to be young again through Eve. But soon understudy becomes actress and actress will become competitor for Margo. This Margo doesn’t like. But there isn’t much she can do about it.

Eve has met all of Margo’s theater friends. There is the critic Addison De Witt, played brilliantly by George Sanders. Sanders was an odd man who won an Oscar for his role as the theater critic, a role in which he was perfectly cast as his personality and De Witt’s match well.

Hugh Marlowe plays Lloyd Richards, a successful Broadway playwright. Richards’ wife, Karen, played by Celeste Holm, is Eve’s biggest supporter in the beginning. She encourages the actress to continue on. Like Margo, things backfire on Karen as she finds herself competing with the young actress for her husband’s attention.

Margo and her friends are stuck having to watch the monster Eve take over Broadway and become a huge star. They seem powerless to stop her, all that is except De Witt. He is similar to Eve. He does some checking in Eve’s past and finds out that she really isn’t an actress from Milwaukee, but just some conniving woman who had to leave Milwaukee because of a scandal involving her boss, a married man.

De Witt is as conniving as Eve and does not blow her cover. He sits back and watches Eve get all the rewards that come with being a Broadway star. The movie ends with Eve getting an award and then being confronted by an adoring fan, who happens to be an aspiring actress. The whole cycle begins again.

Marilyn Monroe made an impression of Joseph Mankiewicz with her performance in The Asphalt Jungle. He cast her as De Witt’s girlfriend, another aspiring actress. Her style to getting jobs is different from that of Eve’s. Miss Caswell is unsure of herself. Eve is not. This is the reason why Eve is the star and Miss Caswell is not. Marilyn Monroe at this point was unsure of herself and this might be a reason why it would be three more years before she became a star, although all the star qualities she possessed were present for the short time she was on screen.

"One way or another, we all work for our vice."

The perfect crime is a topic many stories and movies have dealt with. The perfect crime doesn’t necessarily have to be perfect at all. Things can go wrong with the plan, but as long as the criminals get away with their crime then the crime can be considered perfect. Robbery is a popular subject in fiction because it allows for the perfect crime, but also allows the author to create a moral story if the crime happens to go wrong.

The Asphalt Jungle (1950) is one of those movies that deals with the perfect crime. Like Ocean’s Eleven and Seven Thieves (1960), this movie brings a group of the top criminals in the area together for a job.

Since this is a pretty typical story, with the brains of the operation bringing various personalities together in hopes of scoring a big load, there is not much to describe about the movie. Other than the brains of the operation has just come out of prison, wants one last big job before retirement and uses his connections to find someone who will finance the operation. With finances in place the brains brings together the people he needs for his plan. The robbery is then executed. In The Asphalt Jungle the criminals get the money. It isn’t until they have the movie that things go wrong. The noise from the nitroglycerin blast to open the safe is so loud that alarms from other buildings in the area start ringing, bringing the cops. One of the officers wounds one of the robbers. With the criminal in custody it is only a matter of time before the bunch is found and brought to justice.

John Huston brought this story to the screen. The Asphalt Jungle was originally a novel written by W.R. Burnett. Burnett was one of Huston’s favorite writers. The two first worked together on High Sierra (1941), when Huston was just a screenwriter.

The movie was nominated for four Academy Awards, including best picture. It is still a good watch, but there have been similar movies that have come out in the past 50 years, so the subject matter doesn’t seem so fresh today.

The movie is best remembered today as being Marilyn Monroe’s first big break into Hollywood. She had been an actress for over a year and had appeared in a couple movies before The Asphalt Jungle. But this movie would establish her in Hollywood.

She plays the “niece” of the lawyer who puts up the financing for the crime job. She does not appear on screen for very long, but she does make an impression. When the police come to the lawyer’s house they find him with his mistress Monroe. Marilyn is in fits over what is going to happen to her “uncle.”

This role would lead to similar roles throughout her career as the elegant, dumb blonde. Of course this was the case with most actors who made it as stars in Hollywood. Boris Karloff was always typecast in horror roles, as was Bela Lugosi. Humphrey Bogart in gangster roles and John Wayne in westerns.

It should be noted that John Huston directed Marilyn Monroe in what many consider her first major role, in The Asphalt Jungle, and in her final role, as Roslyln in The Misfits (1961). Both came a long way between the two pictures.

"Scotland Yard was baffled; the FBI was baffled. They sent for me and the case was solved immediately: I confessed."

Classic Hollywood is filled with movies that could’ve been. The teaming of Humphrey Bogart and Marlon Brando for Knock on Any Door is one of them. Or Gary Cooper and Alfred Hitchcock on Suspicion. These didn’t work out, but sometimes dream combinations do occur. Charlie Chaplin and Buster Keaton appeared together in Limelight. The two screen legends didn’t quite live up to audience expectations in the scene they both appeared in. This has been the case for several dream combinations though. Like Marilyn Monroe appearing in a Marx Brothers movie.

On the surface this seems like a great combination. One thing the Marx Brothers like is beautiful females. There is no question that Marilyn Monroe fits that definition. So the match seems perfect doesn’t it? Well, the movie they appeared in together, Love Happy (1949), was made over 15 years after the Marx Brothers had their peak in movies and about five years before Marilyn Monroe would become a huge star.

Timing is everything in movies and this one didn’t quite work out. Had the movie been made during the peak of the Marx Brothers’ ability, it would have been great. It also would not have included Marilyn Monroe because at the time she would have been a seven-year-old orphan in Los Angeles who went by the name Norma Jeane Baker.

Love Happy is like a lot of later Marx Brothers movies, it was done because Chico needed money. Actually this movie is all about money, as the production ran out of financing and had to resort to product placement advertising in the movie in order to finish production. The climax of the movie occurs on New York rooftops with Harpo racing around various advertisements.

Speaking of Harpo, if you happen to be a fan of his, then this movie is wonderful. Unlike the other Marx Brothers movies, which tend to focus a majority of the time on Groucho, this movie is basically all Harpo. He came up with the short story in which the movie was based.

As with all the Marx Brothers movies, the plot is always unimportant. The Brothers were on the screen to make people laugh. Harpo has some of his best gags in this movie. Unfortunately, when you are known as one of the Marx Brothers, it hurts the movie when the other family members don’t have any great gags.

The other two Marx Brothers take on Zeppo roles in this movie. They provide the backdrop for Harpo to star. I believe this was alright to Chico, as he was just in it for the money he needed to pay his constant gambling debts. Groucho I’m sure was offended by such a small role, but then again he might not have cared since he was a huge success with his radio quiz show program.

This brings me to Marilyn Monroe. If you look at the DVD cover, you will see Marilyn Monroe and Groucho on the box. It is billed as the teaming of Monroe and the Marx Brothers. Well, if Groucho and Chico can’t get much face time in this movie then you know some unknown blonde will get next to none. And Monroe gets only one quick scene. It might be the best in the movie though -- for those who are not Harpo fans.

Groucho plays a detective who introduces the movie and then stays out of everything for a majority of the picture until the end. He happens to be stuck in a sticky situation, there is a man who has come into his office who says he will kill him in a certain amount of time. It seems like there is no hope for Groucho until a knock at the door comes. Happily, Groucho goes to the door, opens it and sneaks out as someone comes in. That someone is Marilyn Monroe. So, a few seconds later Groucho opens the door and comes back into the office to leer at Monroe.

That was it for Marilyn Monroe in the movie. And that was it for the Marx Brothers together on screen. They would never make a movie together again, although they all appeared separately in The Story of Mankind (1957).

Having wrapped up the Humphrey Bogart movies last week, I will be looking at the movies of Marilyn Monroe from Love Happy till the end of her career.

"Money's not evil in and of itself. The purpose for which it's used is the determining factor."

Corruption in boxing is not a new topic in movies. It seems that ever since the invention of the medium, there have been tales about boxing and the corruption in the sport. In fact, boxing is probably the most popular sport movies have dealt with. Of course in recent times, as the sport has lost a lot of popularity, there have been few boxing movies. But in the 1950s, the sport was still going very strong. The last appearance made by Humphrey Bogart on screen came in the boxing movie The Harder They Fall (1956).

The movie was based on the best-selling novel written by Budd Schulberg. It tells of the corruption of the boxing business, certainly not a new topic. As with most corruption in boxing stories, this one deals with greedy managers exploiting uneducated fighters and paying off boxers who will take a fall.

The Harder They Fall follows around washed-up newsman and boxing reporter, Eddie Willis, played by Bogie. He still has a lot of connection in the boxing world and when manager Nick Benko asks if he wants to be a part of his PR staff, Willis says he possibly will if the fighter is any good. Well the fighter is not. The fighter, Toro Moreno, is an import into this country. He looks great when he walks by people, as he is so much bigger than everyone, but he has no boxing skills at all. Willis hates the fighter and doubts his ability, but needs the money so he agrees to help Benko by being a public relations man.

Willis draws up interest in the tomato can’s fights and Benko makes sure the fighters Toro faces are paid to take a fall. Of course, this being the era with no television broadcasting, much less pay-per-view, the only medium covering fights is the newspaper. So Toro becomes a sensation of the newspaper world and the boxing world, despite not being seen by many people.

As Toro works his way up the boxing hierarchy he begins to believe that he has some boxing skills. Of course he has improved, but so have the fighters he is facing. They can easily knock him out, but they are paid better to take falls.

Eventually, Toro befriends Willis, who begins to feel sorry for the foreigner. He is a man in a strange land who has some talent, but has been taken advantage of. Willis agrees to help protect Toro. Of course Benko figures out that Toro is having other ideas – like leaving the boxing world and America. Benko can’t let his cash cow leave, so he takes action to keep Toro in the United States, despite his being exposed as a fraud of a boxer. Toro depends on the friendship of Willis and even though he does betray him the first time, Willis does get Toro safely out of the country.

With Willis going against the will of the Benko mob, it is only a matter of time before he is eliminated. In the waning moments of his career, life and the movie, Willis sits down at his type writer and begins to pound out the whole story under the title, “The Harder They Fall.”

This was not the best send off for one of Hollywood’s greatest stars. Bogie is the narrator of the story, but the Benko character, played by Rod Steiger is a better part. Steiger was a Method actor, while Bogie was a naturalistic one. By the time the late50s rolled around, the Method actor was replacing the naturalistic one in all the best parts, this movie is an example of that. With Bogie’s death a year later, the naturalistic style of acting would be dealt a severe blow.

The legacy of Humphrey Bogart is one filled with characters who were idealist, but not completely ignorant of the imperfect world they lived in. Even Bogie’s gangster characters of the 1930s had traces of this in them. His most famous characters, Rick Blaine, Charlie Allnut, Sam Spade, are filled with this quality.

Bogie is not mentioned today as much as contemporaries like Marlon Brando or John Wayne, yet when AFI created a list of the 50 greatest stars, Bogie was at the top of the leading man category. He might not be as well known today as he should be, but those who have seen Casablanca or The Big Sleep know that he will never be forgotten.

"You don't have it in ya, Pop."

The Desperate Hours (1955) is a movie that was based on actual events. This story originally appeared in the newspaper as it was developing, then was gobbled up by Joseph Hayes who wrote a novel about the story. He then wrote a play about it. Finally, the story was turned into a screenplay by Hayes and shot by Paramount.

While he was in charge of Santana Productions, Humphrey Bogart saw the novel for The Desperate Hours and wanted to buy it. His small production company, although successful, still couldn’t compete with the major studios in a bidding war. He lost to Paramount. But Paramount knew he would be a good fit in the role of Glenn Griffin, the main gangster bad guy.

The story begins on a typical morning in suburban America in the 1950s. The Hilliard family is getting ready to attack the day. There is Eleanor, the housewife who sees everyone off, Dan, her husband who has to go to work, and finally Cindy and Ralphie, the two children of the family who have to go off to school. Once this all-American family disperses, things start to happen.

In a story that has been used over and over again by writers of all mediums, a group of gangsters invades the home when everyone but the housewife is away. They have broken out of prison and are waiting for something, typically it is money or a girl as in The Petrified Forest (1936). Bogie plays the groups leader, Glenn Griffin, who is a similar character to Bogie’s Duke Mantee in The Petrified Forest. The only difference is Glenn is more grizzled, a man with no ideals so to speak like Duke possessed. Also new is Griffin has a brother, Hal, so the hardened gangster has some sort of heart as he cares for his younger brother.

When the family returns from their hard day at school or work, they are shocked to find the gangsters in their home. A battle of wills ensues between Glenn and Dan to see who will breakdown first. Will Glenn make good on his promises to leave when he gets what he wants or will Dan manage to get these gangsters out of his house so his family can live a normal life. I think we know how this will end.

On Broadway, Paul Newman and Karl Malden where the stars who matched wits. Newman as Glenn and Malden as Dan. In the movie version, Bogie was supposed to match wits with Spencer Tracy. The two were good friends who hadn’t appeared in a movie together in over 25 years. They wanted to appear together one more time before they died. For some reason, it is suspected because of an issue with top billing, Tracy backed out of the production and Fredric March stepped in.

The story is classic and the movie is as well. For a major Hollywood star, who had developed into a romantic lead at one point in his career, Bogie still enjoyed being the bad guy. Glenn Griffin is a fitting tribute to Bogie’s other gangster characters who he played when he was first starting out.

This was the penultimate movie in Bogie’s career. The movie was not as successful as Paramount originally hoped it would be, but it was the last great movie of Bogie’s character. His final movie, The Harder They Fall (1956) will be looked at tomorrow.

"If crime showed on a man's face, there wouldn't be any mirrors."

With the success of Sabrina (1954), Humphrey Bogart proved that he was adept at comedy. This fact was not lost on the people at Paramount, who cast him again in a comedic role, this time in We’re No Angels (1955).

This movie is not really all that funny or all that great, but it is one of those movies about the spirit of Christmas. It is about three Devil’s Island convicts who are on work release. They decide that there is a chance to make a break for it and take it. They would have been successful in escaping, had they not slipped up at a local shop. Here they witness a shopkeeper, who they were going to rob, have some of his own problems. Bogie and his two other convicts take pity on the shopkeeper and his family once they see them.

The three who had volunteered to help patch up the shopkeeper’s roof decide to make a long stay and forget their chances of escape. They get to really like the family. The mother, played by Joan Bennett is attractive enough to catch Bogie’s eye, while the family’s daughter, Isabelle, is attractive enough to catch the eye of the two other convicts, played by Peter Ustinov and Aldo Ray.

They help prepare dinner for the family, Bogie manages to “borrow” a turkey from a local farm after making his best attempts to buy the bird with no money. They make themselves great servants for the family that has fallen on hard times. The father’s cousin wants to take over the shop and when he arrives to claim the shop that the father has run into the ground because of his generosity, the three convicts rush to cook the books.

They fail in this attempt and seems like the nice people will lose their shop. Of course, this being a funny, sentimental story, the three convicts use their associate named Adolph to help them save the day. Adolph happens to be an adder who escapes from the box he is kept in and miraculously gives anyone who happens to be mean to the family a nice bite.

I probably made the movie more complex than it really is in my description above. Really it is just a lavish Christmas picture that is filled with some laughs, but a lot of sentimentality. The movie was shot in color with a big budget and directed by Michael Curtiz, one of Bogie’s favorite directors.

Bogie is good as the straight man of the group. Basil Rathbone is good as the cousin to Leo G. Carroll’s shop owner/father of the family. The mother, Joan Bennett has an interesting story though. She had been blackballed in Hollywood for many years. Her husband was Walter Wanger, a neighbor to Bogie and big shot producer in Hollywood. In 1951, the Wanger family was involved in a bit of a scandal when Wanger took exception to his wife having an affair with her agent. Wanger took matters into his own hands and shot the agent in the groin. The agent recovered and Wanger spent a few months in jail. Bennett was the one who got the worst of this deal. She was unable to find work, despite having over sixty-five film credits to her name including playing the mother in Father of the Bride (1950). When We’re No Angels was shot, it was only her second screen appearance in the past three years. The producers at Paramount did not want to use her, but buckled when Bogie stood by her and said he wouldn’t do the picture unless she was cast as the mother. Bogie and Paramount were rewarded when she gave a great performance.

We’re No Angels is a nice, family, holiday movie. It is good clean fun and something enjoyable for all.

"What she's got you couldn't spell - and what you've got, you used to have."

In his second screen appearance in color of 1954, Humphrey Bogart appeared as a director who is washed up, that is until he finds a young dancer in the streets of Madrid who he helps make a star.

The Barefoot Contessa (1954) is many things. It is long. It is only the second color movie Bogie appeared in up to this point. It features Ava Gardner and Joseph Mankiewicz. Its biggest drawback though, is its characters. None can be rooted for, except maybe the Contessa, played by Gardner. This makes the movie hard to watch since it is so long, at over two hours.

Mankiewicz had been famous for his behind-the-scenes look at Broadway in All About Eve (1950). Here he tried to expose the behind-the-scenes world of Hollywood. It doesn’t work quite as well as something like In a Lonely Place (1950). Instead of taking a hard look at all the evils of Hollywood, like Mankiewicz did for Broadway, this movie seems to be lacking the same punch. It isn’t because of the characters though. There are plenty of evil doers here, it is just that the Cinderella Contessa is meant to feel too much audience sympathy. This isn’t quite on the level of Charlie Chaplin sentimentality, but at least in Chaplin you had great comedy, this is still too sentimental for most people.

Bogie is washed up director Harry Dawes, who makes a trip to Madrid in order to see Maria Vargas. In a typical move, Vargas is in a tough situation at home, but Bogie promises the opportunity to star in a Hollywood movie. Actually this promise is made by press agent, Oscar Muldoon, played by Edmond O’Brien. Bogie promises to watch out for the young girl in America.

He keeps his promise and even though he happens to be a drunkard with a tough personality, he is the most sympathetic character to the new star. O’Brien, who won an Oscar for his performance, is great as the press agent who has no guts. The movie’s producer, Kirk Edwards, is a bully. Now, to the cynic this might seem like a perfect portrayal of the typical Hollywood types. These old men with no talent are taking advantage of a young girl. That is all true, but it gets worse for our Contessa.

She happens to become a huge star who is known throughout the world. She happens to be smitten by someone she believes to be a charming prince. He happens to be a count, thus she becomes a contessa. Anyway, this marriage made in heaven is not so. The count has his own problems and our friend the contessa develops her own. The movie doesn’t end pleasantly.

During the shooting, the mood on the set between the two stars Gardner and Bogie was not pleasant either. Gardner was on the outs with husband Frank Sinatra. Bogie happened to be good friends with Sinatra. The two were in the Rat Pack together. Or the Holmby Hills Rat Pack as it was known at this point. The group was named by Lauren Bacall one night after a hard night of partying in Vegas. She said the group she saw in the hotel room looked “like a damn rat pack.” The name stuck and the group became famous after the passing of Bogie and Sinatra took over the reins.

Anyway, the tension on the set did not make it onto the film stock. Bogie was the best friend the Contessa had. Mankiewicz wanted to make a movie about the evils of Hollywood. He succeeded in doing this, but there just isn’t enough bite in the Contessa to make the movie seem completely believable. There was plenty of bite in the Eve character Mankiewicz created four years prior. That was lacking in this movie and it hurt it as a result.

"And how do you say I wish I were my brother?"

Sabrina is not really a Humphrey Bogart movie. It’s a comedy that is stolen by Audrey Hepburn. This is a rare occurrence for Bogie. Typically he’s playing some sort of cynical idealist in a drama, here he is the rich businessman without a heart in a comedy. He performs well, but not as well as Hepburn does in the role of Cinderella or Sabrina.

The 1954 film was written and directed by Billy Wilder. It was based on the hit play Sabrina Fair by Samuel Taylor. It involves a chauffeurs daughter, who growing up has been madly in love with the younger brother of a rich family on Long Island. She travels to Paris for cooking school and when she gets back, it is the older brother who she falls in love with. Of course the only reason why the older brother, who has never been in love before, pretends to like Sabrina is because dissolving her crush on the younger brother would allow a major business deal to go through.

Bogie did not fare well on the set. He was out of his element with the people around him. There was no John Huston to drink with after hours. There was no Peter Lorre to help play practical jokes with. There was Billy Wilder, Audrey Hepburn and William Holden on the set. All three knew each other and got along wonderfully. Bogie basically felt left out and stuck to himself while on the set.

He had a great respect for Billy Wilder. Wilder was a master at the farce, his movie Some Like It Hot (1959) was named the number one comedy of all time by the American Film Institute. He had already come off success with Sunset Boulevard (1950) and The Lost Weekend (1945). His comedic touch was perfected here in Sabrina and carried over throughout the rest of the 1950s.

The relationship between Bogie and Hepburn was not a good one. Bogie despised her on the set. He complained that she never knew her lines and that it took too many takes to get her scenes right. Because Hepburn was familiar with Wilder, he felt the director was not hard enough on the actress. This further alienated him.

As for Holden, Bogie didn’t really get along with him because they came at it with two different acting styles. Holden was a Method Actor, while Bogie was a naturalistic one. Since the Method style was replacing the naturalistic style at this time, Bogie became paranoid. He figured that since Holden and Wilder were friends, Hepburn would end up falling for Holden’s character at the end of the movie. Of course everyone, including Bogie, realized that this would be the smart thing for Hepburn’s character to do. The only reason why this didn’t happen is because, as Wilder pointed out, Bogie was the highest paid actor on the set. He had to walk away with the girl if he was being paid that much money.

Once the movie was finished shooting, Bogie was surprised at how good it was. Critics were surprised that Bogie could actually pass as a comedic actor. The fans absolutely loved the movie. It is still a special film to watch today. It was remade recently by Harrison Ford, but you can’t tell me that a movie with Harrison Ford is going to be better than one starring Humphrey Bogart, Audrey Hepburn, William Holden and directed by Billy Wilder.

Sabrina has good acting for the stars and great writing, but the secondary characters stand out as well, especially Walter Hampden as the father of the rich family. Hitchcock fans will also recognize the chauffeur as John Williams, who appeared in the most Hitchcock movies.

"Ahh, but the strawberries that's... that's where I had them."

The year 1954 would be a great one for Humphrey Bogart. He would have four movies released that year. It would be the last time in his career that he would have so many movies released in one year. The first to be released was the quirky Beat the Devil. The next was probably the best of the four, The Caine Mutiny. The other two were stellar as well and will be looked at this week.

Herman Wouk won a Pulitzer Prize for the book, “The Caine Mutiny.” It was an enticing project for any production company. Stanley Kramer was fortunate enough to acquire the rights to the book. He got a distribution deal through Columbia Pictures and was immediately in business. Two major stars, Bogie and Fred MacMurray, were signed on. Van Johnson and Jose Ferrer were added to make the cast something special. It is interesting to note, that much like The Treasure of the Sierra Madre (1948), Bogie is surrounded by talented male actors. The typical Hollywood formula dictates that there needs to be a big male and big female role in order to make a success. This movie didn’t need that.

What it has is great performances. Bogie, who was nominated for his third Academy Award, is perfect as the paranoid Captain Queeg, new commander of the U.S.S. Caine, a destroyer/mine sweeper in the Pacific.

Queeg is the new sheriff in town. The Caine had been run by a lax commander. The crew of the ship understood that the Caine wasn’t going to see much action, due to it being an ancient ship. So things were relaxed before Queeg appeared. MacMurray and Johnson play officers on the ship who clash at times with Queeg’s paranoid personality.

Queeg happens to do everything by the book and allows these strict regulations to interfere with important tasks. Such as his first task as new captain of the Caine involves tugging targets out so that destroyers can practice. Queeg gets so angry at one of his men for an untucked shirt, that he doesn’t realize his ship has cut its tow line, costing the government money.

MacMurray’s character, the wannabe novelist, Lt. Keefer, picks up quickly on Queeg’s perceived paranoia. He gets the other officers to believe that there is something psychologically wrong with their captain. This point is perfectly demonstrated when the Caine is involved in leading an invasion of an island. While the other boats in the Caine’s class continue toward the island to help support the drop boats, the Caine pulls up short as Queeg becomes afraid of the ship being damaged by enemy fire. This earns Queeg the nickname of “Old Yellow Spot.”

Things don’t get better for the crew of the Caine though. The captain makes a big deal over what he believes is some stolen strawberries. This comical scene is famous and it also helps prove Keefer’s point that the captain is crazy.

That is not all though, because during a terrible storm, Queeg is forced to make a decision about what to do. He wants to stay the course and whether the storm, even though his advisors have told him that it would mean certain suicide. This is where the movie gets its name from, spurred on by Keefer, the leadership on the Caine switches from Queeg to executive officer Maryk, played by Van Johnson. The Caine mutiny has occurred and Queeg makes sure Maryk is brought before a court marshal.

Here Lt. Greenwald, Jose Ferrer, defends Maryk. Expecting some help from Keefer, Maryk is disappointed when Keefer acts just as cowardly as Queeg does when he testifies. So in a desperate attempt to save his client, Lt. Greenwald has to push the unstable Queeg, to prove the instability present in the ships commander. This is the best scene in the movie and the one that earned Bogie his Oscar nomination. Rolling steel balls in his hands, Queeg breaks down on the stand. The speech is one of the best acted in film history.

Of course, Queeg’s testimony proves that he is missing something upstairs, so Maryk isn’t court-martialed. The ending involves a bittersweet crew of the Caine drinking champagne. Maryk knows Keefer is a coward and Greenwald is disappointed that the Navy is losing one of its most loyal captains. It is a fitting ending to a movie that has been well crafted throughout. The Caine Mutiny is a fantastic watch today and has been restored well on DVD.

"Do you know what I say? I say time is a crook."

By the year 1953 things were winding down for Humphrey Bogart. He had won his only Academy Award. It had been over a decade since he played Rick Blaine in Casablanca (1942). It would be time for him to end his film partnerships with John Huston and Peter Lorre.

The successful cast and crew of The Maltese Falcon (1941) would join once again for 1953’s Beat the Devil. At least, that was the idea. Beat the Devil is more of a parody of the classic film noirs in which Bogie, Lorre and Huston made. It would be the final time for the three to work together. Sydney Greenstreet, the normal rotund bad guy, had retired from acting. He is replaced in this movie by Robert Morley, who had appeared in The African Queen (1951) with Bogie as Katherine Hepburn’s missionary brother.

Here the cast is in Italy. The story is odd and all over the place. This is probably because the script was being written day by day. Truman Capote worked with Huston on the script. For the most part, the movie is just about Bogie, Morely and Lorre having a good time together. Huston focuses much more on this than an actual story. The three seem to enjoy each others company and Jennifer Jones and Gina Lollobrigida seem to go along for the ride. Lollobrigida was making her American film debut.

Basically, Bogie is a con man. He happens to team up with a group of four men, led by Lorre and Morely, who are after uranium deposits in Kenya. Actually, “team up” isn’t the right phrase. Apparently Bogie isn’t the suave gentleman he acts like while interacting with wife Gina Lollobrigida. He happens to be a low-life who doesn’t have any money. He owes the four men some money. He placates them by saying they can go to Kenya with him to claim the uranium. Of course the four agree and the majority of the movie is spent waiting for a steamer to take the group to Kenya.

Once on board, high jinks ensue and when they arrive in Kenya, it is not what they expect. Here is The Maltese Falcon reference. It is not about the jeweled bird, or the uranium in this case, but about the quest for something unattainable and what human beings will do to get it. It is a common theme throughout Huston’s work. It is at its most comical here. The group is arrested by natives, but Bogie happens to sweet talk the chief and the group escapes. They end up back in Italy and the movie comes to a close.

When it was released, Beat the Devil did not do well at the box office. In later years, the movie became appreciated for the people who appeared and worked on it. It never made money for Bogie and he was disappointed in that. He himself never liked the film. In fact, it did so poorly, the copyright was not renewed and the movie is currently in the public domain. This might be one of the reasons why the prints of the movie are not of high quality, even on DVD.

This seems to be a movie that you are either a fan of, or you can’t stand. Personally, I think it has some strong points, but the talent associated with it deserved better. Not a great final picture for the trio of Lorre, Bogie and Huston.

"One thing in the world I hate: leeches. Filthy little devils."

The Academy of Motion Pictures Arts and Sciences is odd. Every year the Oscars seem to be more political than about who is the most talented. People like Humphrey Bogart, John Wayne and Alfred Hitchcock won only an Oscar apiece. Hitchcock received his for lifetime achievement, not best director. Groucho Marx is the same story. For some reason, these legends of the screen were only allowed to win one Oscar. Their work has lasted over 75 years in some cases, yet they were underappreciated by the Academy when they were alive. Maybe that is because they were too popular with the public and the Academy preferred to reward “artistic” performers.

No matter though, the Academy does some great work. For Humphrey Bogart though, like the others, it was hard to see your name at the top of box office lists year in and year out, yet never be able to hold an Oscar. He had been nominated before, for Casablanca (1942), but didn’t win. He gave his best performance in Treasure of the Sierra Madre (1948), yet didn’t even get nominated. So when he was nominated for The African Queen (1951), there was much doubt as to Bogie’s winning the award. The favorite to win was Marlon Brando for his performance in A Streetcar Named Desire (1951).

As the Academy tends to do, there was an upset and the favored Brando would have to wait three more years before winning his first Academy Award. Bogie received the award for playing the drunken, yet lovable Charlie Allnut.

The story surrounding The African Queen is famous. It was recounted brilliantly by Bogie’s co-star, the tremendous actress Katherine Hepburn in “The Making of The African Queen – Or How I Went to Africa With Bogart, Bacall and Huston and Almost Lost My Mind.”

Before arriving in Africa though, there were some things that needed to be changed in the screenplay that had appeared in C.S. Forester’s novel. Namely, the Allnut character had to become Canadian and not English. In the novel, Allnut was written to have a strong Cockney accent. Bogie was unable to do this, so the screenplay was rewritten so that he could speak “normally.” That’s how you win an Academy Award.

John Huston was famous for taking his cast and crew to the farthest ends of the Earth during location shoots. Traveling through Africa was a dream for him. He had a blast on the trip. While not shooting the picture, he was off shooting game. At nights, he and Bogie would take shots, much to the annoyance of Katherine Hepburn.

Bogie and Huston got the last laugh. Everyone on the location shoot ended up getting sick because of the mosquitoes and tainted water. Bogie and Huston only drank Scotch on the trip. The Scotch provided protection for the two whenever a mosquito bit them, Bogie joked.

The African Queen is a fairly interesting because of the interaction between Hepburn and Bogie. There really is no change in Bogie’s character from previous movies. He is the cynical, drunkard who is inspired by a woman who he falls in love with to change his ways and join the side of right. Hepburn plays the idealistic sister of a British missionary. The chemistry between the two is great.

On a rather tragic note, Bogie and Bacall had a death in the family while filming began. Bogie and Bacall left for London, where studio work was done for The African Queen. As the plane left, Stephen, their son, and his nanny stood waving at the plane. Unfortunately, the nanny had a stroke, collapsed, and died right there. It was the first time his parents had ever left him alone and his nanny died minutes after their plane left. Needless to say, that probably had a serious affect on Stephen. He has managed to be a fairly successful author, but has struggled to come to grips with his famous father. Perhaps this is a reason why.

The African Queen is a great movie because there is a small cast. Bogie and Hepburn control most of the screen time. Because we go on a thrilling journey through the heart of Africa, with such wonderful guides, we remember this movie. Maybe that is why the Academy remembered Bogie come Oscar time.

"It was his story against mine, but of course, I told my story better. "

A Humphrey Bogart movie that is often overlooked, but tremendous is In a Lonely Place (1950). The movie was produced by Santana Pictures. I don’t quite know why it is overlooked by those writing about Humphrey Bogart. It is almost as if his career went from Treasure of the Sierra Madre to The African Queen (1951). There were a string of movies in between, most not worthy of mention, but In A Lonely Place is certainly worth noting.

Perhaps it is worth noting because according to most people who knew Bogie, the Dixon Steele character he played in the movie was the closest to the real person. At least when Bogie got drunk that is.

Dixon Steele is a washed-up screenwriter. He still has connections in the business though and actually gets an offer to adapt a novel for the screen. The problem is, Steele doesn’t want to read the book. So he has the hat check girl at the restaurant his meeting is being held at finish reading the book and then tell him the plot. Of course, being a writer, Steele can’t work in a restaurant, he wants the comforts of home. So he takes the girl home with him.

She has to break a date with her boyfriend, but doesn’t seem to mind the chance to help a Hollywood screenwriter. The girl recites the novel’s plot to Steele, who is not amused. Anyway, it is late and Steele is tired, so he sends the girl out into the cruel night with some money for a cab.

A few hours later, there is a knock on Bogie’s door and the police come to question him. Apparently the girl was murdered and Bogie was the last one to see her. He has to fight off the police and his only friend is neighbor Laurel Gray, played by Gloria Grahame. The small-time actress takes a liking to Bogie’s face and the two fall for each other.

This inspires Steele to write and the couple plans on getting married after this unfortunate incident with the police is cleared up. Unfortunately for their plans, Steele posses a temper. One that can inflict violence on another person. So the question is posed to the audience, did Dixon Steele commit murder? He certainly seems capable of doing it.

This is a good film noir. It is directed by Nicholas Ray, who directed Bogie in Knock on Any Door. It was based on the novel written by Dorothy B. Hughes, who wrote crime novels. This one takes place in Los Angeles, but the author spent most of her life in Santa Fe, New Mexico.

One of the reasons why this movie might not get as much attention as it should have, is because it came out in a year when movies about the underworld of Hollywood were popular. Sunset Boulevard and All About Eve got all the attention that year. Perhaps it was because they had more established stars and directors working on them. Plus they had the benefit of being produced by Paramount and 20^th Century Fox respectively. Had Bogie’s company not produced the movie and had there been bigger stars to join him on screen, the movie would have gotten more attention. Of course it might not have been as good as it turned out to be. At least today’s audiences have an opportunity to see this forgotten classic.