
Bogart and Bacall in To Have and Have Not
Recently I joined The Golden Age of Hollywood group, and, upon seeing that he had listed Casablanca as one of his favorite films and was a huge Bogart fan, I began a discussion with Michael B. Druxman.
I probably should have read his profile a bit more closely — seen the “Screenwriter, Playwright, Novelist, Hollywood Historian” bit — before I blundered on in and babbled my question; but hey, I didn’t. And so, Jaynie, the not-a-film-critic-but-a-fan found herself discussing debating film with a person certainly more suited to the role of film critic than herself.
While I was/am admittedly out of my element, I thought the conversation was worth sharing here.
It began innocently enough, with me, a person who favors To Have And Have Not, asking, “I’d be interested to know what you think of To Have And Have Not v. Casablanca…”
He replied, nicely, but showing his greater film education:
CASABLANCA is my all time favorite movie, but I’ve always considered TO HAVE AND HAVE NOT to be one of Bogart’s lesser films. It’s okay…but it’s not in the same league as CASABLANCA, THE MALTESE FALCON, KEY LARGO, etc.
Although the scenes with Bacall certainly sizzle, they also slow down the forward movement of the story, which takes the title from Hemingway’s book and little else. The remake with John Garfield (i.e. THE BREAKING POINT) was much closer to the book and, I think, a better movie.
To which I replied:
I’m sure my ignorance to the book puts me in a weak position overall for debating/defending To Have And Have Not, but…
I’ve never been a real fan of Casablanca. Bogart is excellent, but Ingrid Bergman, while beautiful, has a coldness and is so passionless that frankly, I’d have put her on the plane and been relieved to see her go. Without that tension, there’s no dilemma, no story. However, in To Have And Have Not, the sizzle as you call it (and the characters) drive the action for me.
Again, the book v. film perspective I lack — and addressing that might then very well change my views — but I think it’s at least interesting to note that you, a man, watch/address/see Bogart, while I, a woman, watch/evaluate/respond to the female leads. On the surface you could just say I’m reacting to them as ‘chick flicks’ but I think there’s something more to it…
In any case, I very much enjoy the discussion.
He replied, likely sensing my intimidation, including his more personal reactions on becoming a fan:
The first time I saw CASABLANCA was at a revival theater when I was in college…and I didn’t like it. In hindsight, I realize that the reason I didn’t like it was because I was expecting an action movie, and this was a romantic drama. However, upon a 2nd viewing (on TV) it started to grow on me and every time I see it (20 times?) I see something new. The characters. The situations.
I must disagree with you about Bergman’s performance. Why shouldn’t it be on the cold side. This woman has been running from the Nazis. Her husband has been tortured by the Nazis. Yes, she has feelings for Rick, but she’s torn. This is not a happy woman.
Regarding TO HAVE AND HAVE NOT, this is generally considered to be one of Hemingway’s weaker novels. In fact, I believe that director Howard Hawks bet Papa that he could make a movie out of the book when Hemingway bet he couldn’t.
He also added that he’s sure the conversation will continue. I’d like to, but I’m a little less sure how to continue…
Nothing against him — he’s been very nice dealing with a movie fan whose ignorance is pretty clear — but how do I better articulate my thinking that our perceptions may be, at least in part, influenced by our genders (and related expectations, emulations, and emotions) without sounding like a silly girl? Or worse yet, some foaming-at-the-mouth feminazi?!
I suppose the first step is getting my hands on (and nose in) a copy of Hemingway’s book; and the second step is to watch The Breaking Point.
But then, assuming my thinking about the films (that To Have and Have Not is better than Casablanca) and/or our gender reactions remain the same, I’m still stuck on step three: How to say it without sounding like an off-putting (and female) idiot.
Tags: classic film, Films, gender
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