TomJH

Either that or Sam got **** that Rick left him behind and chopped up his piano for kindling wood. An angry Ferrari knocks Sam out and leaves him in the desert to die. Carl and Sascha use the underground to contact Rick who returns in disguise as a Nazi, and grabs Ferrari, forcing him to tell him where he left Sam in the desert. Rick retraces the route given, finally coming across a giant tent in an oasis where he finds a smiling Sam surrounded by three harem girls. "Sam, I'm here to rescue you," Rick proclaims, a little surprised by the presence of the ladies. "Sorry, boss," Sam replies, "but I don't need rescuing." "No, I can see that," Rick replies, "Mind if I hang around?" "Sure, boss," replies a smiling Sam, "Make yourself comfortable, but you may get a surprise or two." At that moment one of the harem girls removes her veil and it's Ilsa. "Ilsa!" says a shocked Rick, "Of all the tents in all the world you have to come to this one. What are you doing here? I thought I did the noble thing by sending you off with Victor." "I got sick of all that nobility between you and that husband of mine," says Ilsa, "and wanted a little spice in my life. I always found Sam a little cutie pie so here I am." "That's right, boss," says a beaming Sam, "She's my honey . . . er, boss, there's a couple of other girls over there for you. But I'm not certain they're going to be your type." The other two harem girls, one tall, the other decidedly short and chunky, move in on Sam to remove their veils. It's Sascha and Carl. Sascha winks at Sam. "Get away from me, you crazy Russian," Rick responds. "Come on, boss," Sam smiles, as he and Ilsa snuggle,"Give in." "This ending will never get by the censor board," Rick proclaims but, looking over at Carl and squeezing his cheeks to Carl's accompanying squeals of "Naught! Naught!" adds, "I think this may be the beginning of a really weird friendship." The End.

Dooley Wilson's Sam is a good guy who stuck by Rick since at least the Paris days. I always worry about him at the film's end, though. If you were Sam, would you want to be stuck working for Ferrari? Biggest flaw of Casablanca: not enough Peter Lorre, including finding some way to have him share a scene with Greenstreet. Aside from that, the film is a marvel of smooth direction, crackling dialogue and a cast that give performances of which you can never tire. Viva Bogart's Rick and Bergman's Ilsa, and if corruption always came in such debonair packages as provided by the charming Claude Rains maybe it would be a little easier for us to endure.

The ending, as far as Garfield and his family is concerned, is ambiguous but his character has finally surrendered his macho instincts to acknowledge to his wife that he needs her. In losing his arm it will possibly bring them closer together as a couple - if he lives. SPOILER ALERT: That memorable crane shot at the end of the film is a real surprise. In closing the film with an image of a little boy ignored by all around him as he searches in vain for his father and is then left standing alone on the dock the audience is brought up short. Unlike the boy, we know the tragic news that awaits him. It's a reminder for us of the tragedies in life that daily impact others of whom we may give little thought. There will be a mother we haven't seen that will be torn apart, as well. It is also a reminder of the guilt that Garfield's Harry Morgan will forever feel for what happened to his friend. The tears produced in some audience members by that final shot are a testament to the heart breaking humanity that touches a film that might otherwise be dismissed as just a melodrama. By the way the little boy in that shot was played by Juano Hernandez's son.

It's tough to pick just one Lugosi performance as my favourite. I love, just love, watching him when he played Dracula the second time in the Abbott and Costello film, bringing an aristocratic dignity to the role amidst all the (successful) comedy chaos around him. But then there was also his broken necked Igor in Son of Frankenstein, stealing that film, in my opinion, from one of the most illustrious casts that any Universal horror film ever had. And did you ever see a more contrasting performance to his silken smooth Dracula than in this portrayal, showing his acting range. But, if forced to pick just one performance, I look back to the beginnings of his Hollywood career and his role as Legendre, the zombie master, in that artfully created little "B" of ominous atmosphere, White Zombie. Lugosi is a commanding screen presence is this film, but he delivers a far more subtle performance here than in many other portrayals (try comparing this one, for example, to his mad doctor in The Raven). And those eyes used to hypnotize his helpless victims, to break down any resistant will power they may possess. Lugosi's marvelously understated performance makes the evil of his character that much more chilling and believable. This, to me, may well be Lugosi at his finest.

Great list, Detective Jim. May I add a couple more: The Ghost of Frankenstein (1942), with Bela continuing in his role as Igor to Lon Chaney's Frankenstein Monster. Frankenstein Meets The Wolf Man (1943) with Lugosi as the Monster, perhaps not his greatest performance but a fun film. One of the problems in appreciating Bela here is that the Monster, I believe, is supposed to be blind but that is not well established in the screenplay. Return of the Vampire (1944), a highly atmospheric vampire tale with Bela wearing the cape once again. Although, for copy right reasons he is not called Dracula, making this technically not a Dracula film, this was the closet he had come to the role since his star making turn as the Count in 1931. And thanks for the great Lugosi video Antonia. I look forward to seeing your video on Bela's homes (even if it is sad to see the modesty of his last residence).

There is a feeling of triumph at the end of Body and Soul but it is mixed with an ambiguity as to how much future Charley Davis may have. At the time of Garfield's death I suspect that Body and Soul was regarded as the highlight of the actor's career. But time changes perspectives some times and today, I suspect, films like The Postman Always Rings Twice and, as it becomes increasingly better known, The Breaking Point may generate more interest and excitement among many buffs. Garfield himself was on record as ranking The Breaking Point above Body and Soul, a film whose popularity and status had brought him a lot of pride. I would rank Garfield's family man skipper forced to work with criminals in The Breaking Point as probably the actor's definitive performance. That tough guy tinged with vulnerability for which Garfield was known never seemed more real to me than in this, his second last film. Garfield was clearly maturing as an actor, bringing more depth to his performances. I also appreciate the unspoken love that Garfield's Harry Morgan had in his friendship with loyal ship mate Juano Hernandez. Garfield wanted the role of the friend to be played by a black actor to provide the film with a subtle message of racial harmony. That heart breaking crane shot final image in the film, by the way, was the idea of director Michael Curtiz.

"Watch your mouth, mug. Even I got a better looking pan than that! . . . And stop calling me Blinky!"

Well something worked out for them - twice. I guess that's a rug on Bogie in this shot. I wish their little girl didn't make that face. She's kinda scaring me.

I just watched this one for the first time. It's not without fun for action fans and Mitchum is pretty loosey goosey as a priest who carries a machine gun. Silly movie but fun if you're in the right mood for it. But it's sad to see Rita Hayworth. She looks like she's from another world.

I think so. I first noticed Bogie starting to lose his hair about the time of Dark Passage, made just before Treasure.

Is that right? I don't know. But did it also apply in 1958 when Flynn was involved?

That's okay. My response was kidding, too. But this haircut. It's no good. About that I'm not kidding.

It's a bad film if you're a fan of gila monsters.

There had been talk of Flynn getting nominated for Sun Also Rises, and he even briefly thought he had been nominated (based on an audio interview he had at the time) before the nomination disappeared. One source said the problem was that the studio involved (Fox) had classified Errol as a star of the film rather than, I assume, supporting player. I guess that means he would have to be up for Best Actor rather than the proper category of Best Supporting Actor. Thus no Oscar nomination for Flynn (who would have been flattered by the honour).

Maybe it was Ronald Colman's. It went missing, you know. 😉 (Sorry, that's an inside joke for those familiar with Benny's radio show, folks).

What do you mean ONE of the best? He's THE best! . . . er, I mean, you don't say? I'll have to give it a look some time.

Never heard of it.

Many fans are familiar with Ronald Reagan's "Where's the rest of me?" line in KINGS ROW. But my favourite line of dialogue in the film comes from Betty Field, struggling with the frustrations in life along with her mental illness, when she proclaims, "Oh, I hate it. I hate everything. I'd hate God if I could you there's nothing you can reach."

I haven't seen this film either. With that title and that outfit that Mitchum is wearing I hope he isn't playing a minister in this film. Seeing him playing the Preacher in Night of the Hunter was the closet he ever came to this kind of role, but I wouldn't exactly call Mitch a man of God in that film.

Few realize Russell's versatility as an actress. She was the leopard in that film. It helped to prepare her for her catty role in The Women.

I strongly suggest you see KINGS ROW. It's a terrific film, with strong performances by the entire cast (excluding Robert Cummings). It also has wonderful music by Korngold and a noirish moodiness to its photography, at times. Ann Sheridan regarded it as the best film of her career. It certainly has one of her best performances. You may also be surprised at how very good Reagan is in it. As for Kaaren Verne I suspect that All Through the Night was the highlight of her film career. By 1953 when she appeared in The Juggler, with Kirk Douglas with whom she shares one scene, she was unbilled and looked quite a bit older. The actress didn't age very well, unfortunately.

Arsene Lupin (1932) Smoothly produced MGM production which served as the first film to co-star the Barrymore brothers, John and Lionel. The latter plays Guerchard, the veteran Paris detective on the trail of a master thief known as Arsene Lupin who has eluded him for years. His chief suspect is the wealthy, sophisticated Duke of Charmerace, played, of course, by John. These two will engage in a series of cat and mouse games with one another, which will include Lionel hiring an attractive convict on parole (Karen Morley) to get to know the Duke any way she can in order to get the goods on him. Along with his portrayal of the Baron in Grand Hotel, Arsene Lupin is John Barrymore at his debonair, elegant best. He is sexy and charming in his scenes with Morley (it's particularly fun when he first meets her lying naked in his bed) while at the same time conveying the cunning and high intelligence of a master crook thumbing his nose at authorities. John at all times seems to be having fun with his role. At the same time, though, Lionel is engaging to watch as his aggravated police opponent slowly and methodically closing in upon him. The two brothers were both known for their scene stealing antics. Lionel used to complain about John stealing scenes from him while John, on at least one occasion, is said to have made a wager that his brother would somehow take the spotlight in a scene in which everyone but Lionel had dialogue. In their first film together they are worthy opponents of one another and both live up to their then sterling reputations as actors. At the same time, though, Karen Morley also scores well in the film, as a cunning woman initially matching wits with John before gradually starting to fall under the spell of his charm. Arsene Lupin is occasionally shown on TCM and is well worth viewing, particularly, of course, for fans of the Barrymores. This film is a fine showcase for John Barrymore's remarkable talents, as both actor and personality, before drink would lead him to a sad career and personal decline. 3 out of 4

James Cagney won his Oscar for YANKEE DOODLE DANDY, a film that provide him with a good number of song and dance numbers but little in the way of dramatic opportunities. But he was never more dynamic as a actor than in a couple of his gangster films, ANGELS WITH DIRTY FACES and, in particular, his psychopath portrayal in WHITE HEAT. Name another actor of the time who could have equalled Cagney in his "Made it, Ma. Top of the world" finale of that film.

Alias the Doctor (1932) Incredibly contrived pre Coder from Warners, saved from the cornball melodramatics of its sophomoric screenplay by the craftsmanship of director Michael Curtiz. Richard Barthelmess and Norman Foster play foster brothers living in the Austrian countryside. Barthelmess wants to be a farmer but he and his brother are both pressured by their domineering mother (Lucille Laverne) to travel to Munich to study to be doctors and do "God's work" in saving lives. Barthelmess turns out to be a top of the class medical student while Foster is a wastrel who drinks and chases women. When Foster strikes his girlfriend, resulting in a terrible accident when she falls down some stairs, putting her into a coma, even though he is just a medical student he performs a drunken operation to try to save her. When he sees that his effort was in vain he seeks out the help of his brother. Barthelmess goes to the woman's apartment in time to see her die just as a neighbour sends for a real doctor. When the doctor arrives Barthelmess, when asked, says he performed the operation (to cover his brother). The result is that Bathelmess goes to prison for a three year stretch at the same time that Foster graduates as a doctor. Foster become a country doctor but loses patients with his continued drunken behaviour. Barthelmess is released from prison and travels home only to find out that his brother has just died (presumably from his liquor consumption though no explanation is provided). Barthlemess plans on being a farmer but then, in one of those incredible mind boggling coincidences that only a screenplay like this would provide, a car crashes into a tree just outside his home and Barthlemess performs an immediate operation to save the victim's life. A doctor arrives and, impressed by Barthelmess's work, persuades him to travel to Vienna with him to try to help the lives of others badly in need of his medical "gift." The doctor doesn't know, of course, that Barthelmess has no medical diploma and must pose as his brother thus breaking the law every time he performs surgery. In fact it's domineering Mom who talks a reluctant Barthemess into doing this. Five years pass (in five screen minutes) during which Barthelmess becomes a medical wonder in Vienna. He had spent this doing "God's work" to please his mother but now wants to quit before his subterfuge is discovered and he is sent back to prison. He also wants to marry his foster sister (Marian Marsh), still living at home with their mother. But Mom will have something to say about that and she will write a letter of exposure about her son to a doctor. Thus the melodramatic turns continue. All of this medical nobility and brotherly self sacrifice can be more than a bit much to stomach, but director Curtiz manages to rescue the film from the banalities of its screenplay by the dynamics of his camerawork and the fast pace that he gives the film (which runs just one hour). The impressive Anton Grot sets add atmosphere to the film, particularly in the street scenes, as well as the black and white photography of Barney McGill. One of the more amusingly cringe worthy aspects of the screenplay is its portrait of the hospital "autopsy surgeon," as played by Nigel De Brulier. His character has virtually no dialogue but is presented as a ghoulish bird of prey (one of the doctors refers to him as a vulture) who hangs out in the hospital corridors waiting for a botched operation so he will have some work to do. In the film's big climactic operation scene, when things are starting to look bad for the patient, this coroner, almost like he is in possession of a sixth sense, suspects something is wrong and stands at an entrance to the operating room watching. When the patient at one point stops breathing he reaches over for his black apron to put it on, only to reluctantly put it away when the patient starts breathing again. This is a man who really wants work! Nigel De Brulier as the hospital autopsy surgeon just waiting for the next unsuccessful operation. The lighting on his face leaves no doubt that this is a coroner on the lookout for work (either that or he should be in a horror film). 2.5 out of 4

Thanks very much. I strongly suspected that Mel had embellished more than a little but wondered if there was, indeed, some factual basis to his account. Since you mentioned Professor Hurst, would you know if anyone may have access to the voluminous materials that he had for his Flynn book, including Errol's Spanish Civil War diary, and if that material will possibly see publication one day?