[PITFALL (1948) - Monday, Sept 2 at 4:15 pm EST]

Well said, James.

[ABANDON SHIP! Saturday, Sept. 14 at 10pm (EST)]

Another tidbit for those impressed by Abandon Ship.

 

TCM has a package of rare Paramount releases, which includes the 1937 sea faring adventure, Souls at Sea. That film ends with a ship disaster and another overloaded lifeboat, in yet another film based on the same true life incident that was the basis for Abandon Ship.

 

Gary Cooper, in charge of the lifeboat in Souls at Sea, shoots panicing surviviors when they threaten to swamp the small craft they're all on. Souls at Sea, however, only devotes a few minutes or so to the incident as a climax (which also results in Cooper being put on trial for murder). Rather superficially, the film deals with the issue of Cooper taking some lives in order to save others.

 

The film, largely an 1840s sea adventure, does not attempt to deal with the incident on a moral level with the same depth as Abandon Ship.

[ABANDON SHIP! Saturday, Sept. 14 at 10pm (EST)]

Thanks very much, kingrat. I'm certainly glad that you enjoyed the film.

 

Abandon Ship is stark and realistic in its presentation, and its controversial subject matter is sure to get the juices boiling on many viewers, as this thread indicates.

 

And it's also great to see Tyrone Power having the opportunity to demonstrate what strong acting chops he had. I think he's more impressive in this film than about 90% of everything else he did.

 

By the way, he and leading lady Mai Zetterling were having a relationship when this film was made with Power's own production company, Copra Productions, in England.

 

The film was NOT a hit when Columbia released it in 1957 in America. The English title, by the way, was Seven Waves Away.

[Bogart Vs. Cagney Vs. Robinson]

In many ways, VX, I think that The Sea Wolf is representative of the studio that produced it, Warner Brothers. Not just because of the cast and behind-the-scenes professionals who were so expert at what they did, but also in much of the theme of the film.

 

And much of that was about oppression, carrying on a tradition of that studio that had distinguished it during the '30s. The studio of the poverty that drove men to crime in The Public Enemy and Angels with Dirty Faces, of chain gangs in I Am a Fugitive from a Chain Gang, of an innocent man being sentenced to slavery before turning pirate in Captain Blood. Even the fantasy of The Adventures of Robin Hood touches on this theme, though that is not the emphasis of the film.

 

In the case of The Sea Wolf I think this is continued, with the sub plot of two outcasts of society (John Garfield and Ida Lupino) both of whom find themselves trapped by circumstances on a sealing vessel ruled by a martinet megalomaniac with a streak of sadism running through his personality. He is their oppressor on board this ship.

 

The most poignant scene in Sea Wolf, I feel, is that one set below deck when Ida Lupino visits John Garfield in the hold after he was beaten following his landing a marlinspike near Wolf Larsen's head following the captain's laughing torment of her.

 

Composer Erich Wolfgang Korngold's slow melodic score includes the melancholy sounds of a harmonica playing in the background as these two lonely people open up to one another. Lupino is tired and disillusioned, ready to give up, while Garfield is angry, bitter but refuses to let the Larsens of the world defeat him. They share cigarettes. A bond begins to form between them, these two battered souls who feel lost, lonely and at times overwhelmed by a hostile world.

 

"There's something in me that tells me I have to keep on fighting," Garfield says, "Tells me there is something for people like us."

 

"Like us?" Lupino asks.

 

"Yeah, like us. Men like Larsen can't keep on grinding us down because we're nobodies. That ain't true. We're somebodies."

 

He tells her of a plan to get off the boat, a plan that he wants to include her.

 

And then there is a remarkable closeup of Lupino.

 

"Inside or out, it's all the same," she says, "To be free, to be let alone, to live in peace - even if only for a little while . . ."

 

She looks around the hold she shares with Garfield, and says, "Like this. I don't expect anything more."

 

And the actress breaks your heart with the simplicity of her delivery, and the beautiful pain of a tired soul she captures at that moment.

 

I can't say, however, that this film is totally bleak. There is, after all, an ending for these two which indicates that things may turn out positively for them. As they near that island in their lifeboat, that there may be a fresh start for them.

 

But, bleak or not, The Sea Wolf remains a powerful film, with, if you look for it, some social comment mixed in. On a more melodramatic level, it is something of a kindred soul to I Am A Fugitive. And bleak as that chain gang drama is, particularly with its uncompromising ending, it is rightfully regarded as a classic. I think The Sea Wolf is fully deserving of that status, as well.

 

[Plot Similiar to 'Jeanne Eagles']

Your story description sounds very similar to a Warners melodrama, The Hard Way. Joan Leslie plays a small town musical star pushed to stardom by her grasping sister, Ida Lupino, the latter willing to trample over others on the way. Leslie marries a small time vaudevillain, played by Jack Carson, whom Lupino deems is only getting in her sister's way of making it big time so they largely abandon him to the sticks. Dennis Morgan also appears in the film as a partner of Carson.

[The Sea Wolf:Running Time? and TCM]

*jamesjazzguitar wrote: The scenes that were cut were cut by the studio because of their overt political message.*

 

James, may I ask how you came by this information? It's my understanding that The Sea Wolf had some scenes cut when it was re-released in 1947 to theatres, in a double bill with The Sea Hawk.

 

And that's the version of the film that has always, I believe, been available to television. A complete 16mm version of the film was discovered among John Garfield's possessions, and Warners has that version but, so far, has chosen not to makes the lesser image of those edited scenes available in North America.

 

I saw the earlier postings that a complete version of the film is available in England. That came as news to me. I wonder what the source was for that statement.

[PITFALL (1948) - Monday, Sept 2 at 4:15 pm EST]

VX, I'm glad you liked Pitfall. It's always great when you enjoy a good little film, particularly if it's one of which you have heard little.

 

I have to agree with James, however. While Burr was clearly trying to pressure Scott into leaving with him, he wasn't physically forcing her to do anything. And the fact remains that she shot him in the back - twice.

 

Of course, we sympathize with her, and possibly a good defense lawyer will make some kind of case so that she gets off with a lesser sentence. But she's still a murderess, in my opinion.

[ABANDON SHIP! Saturday, Sept. 14 at 10pm (EST)]

Well, MissW, I'm glad the thread persuaded you to watch a film that you indicate you found interesting.

 

Playing God such as Holmes does in this film is a responsible from which most people, I suspect, would gladly abdicate.

 

Robert O's commentary before the film made reference to the fact that Alex Holmes was a considerably more complex character for Tyrone Power to play, certainly a characterization of more depth, I feel, that the hero roles into which he was usually cast.

 

It's interesting that when Power played darker, more questionable characters, such as in Abandon Ship or Nightmare Alley, that he was able to give viewers a glimpse of what a strong actor he could be. With his casting against type as a murder suspect in Witness for the Prosecution soon after this film was made, it's apparent that Power was very interested in experimenting with his screen image.

 

What a genuine tragedy it was that this former matinee idol, now being allowed to stretch his acting muscles on screen, would suddenly be dead of a heart attack at age 44.

 

[ABANDON SHIP! Saturday, Sept. 14 at 10pm (EST)]

*slaytonf wrote: The real tragedy faced by Holmes was not necessarily the deaths of the people he jettisoned, but the uncertainty of whether they were necessary.*

 

Actually, slaytonf, the screenplay doesn't indicate that Holmes was dealing with that uncertainty. After the surviving members of the lifeboat turn their backs (literally) on the captain, stating that he forced them at gunpoint into putting the others overside, Holmes emphatically states that what he did was right. As proof of that, he points to the fact that they are all still alive.

 

Holmes is portrayed as a decent man who had to harden himself in the position of command to make some life and death decisions. Even to the extent of holding a gun on some in order to enforce his will. I have no doubt, based on the film's final scene in which Holmes momentarily thinks that he sees the faces of those he had earlier jettisoned on the rescuing ocean liner, that he will be faced by huge conscience pangs over their deaths, no matter his perception the "rightness" of that decision.

[ABANDON SHIP! Saturday, Sept. 14 at 10pm (EST)]

The very fact that Holmes ONLY got six months speaks to the unique circumstances under which his acts took place. This is the kind of situation which will pit some moralists against others who see the practicality of his decision making.

 

There is no way that a massively overloaded lifeboat could have survived such a journey. For Holmes to keep the weak and those who couldn't have made the physical contribution needed for all to survive, well, I understand emotionally, of course, why it would be the humane thing to do.

 

It seems, though, that all might have perished if Holmes had done that.

 

What I really appreciate about Ty Power's performance was his ability to be convincing as a man forced into a hard, Darwinian decision but at the same time he shows the human being behind it who, based upon the film's last scene, will always be haunted by his actions. Even though they were "right" because he honestly believes that he saved lives by sacrifing others. (And, yes, he did play God in doing so).

[ABANDON SHIP! Saturday, Sept. 14 at 10pm (EST)]

The "brave captain" lady is whom you refer and find so annoying was played by South African Moira Lister. She's quite excellent in the role, I feel.

 

Her portrait of a rich woman used to having the best of everything who initially sounds sarcastic when she addresses Power is tempered by the fact that, as the film progresses, she proves to have more spirit than many of the others in the lifeboat, as well as, finally, loyalty to Power, after almost everyone else has turned against him because of his decision-making.

[Bogart Vs. Cagney Vs. Robinson]

In many respects, mrroberts, I think that the Sea Wolf is one of those films, like a Casablanca or Robin Hood or Angels with Dirty Faces, that is representative of Warner Brothers at the peak of its craftsmanship as a studio. But, unlike those three films just named, The Sea Wolf doesn't get much attention.

 

Everybody is really at a peak here, director Curtiz, cinematographer Polito, musical composer Korngold, the great ensemble cast, all working with a fine, literate script. Then there are the wonderful sets of Anton Grot, much of it steeped in fog. Really, the best of the studio all combined their talents on this one and all made sterling contributions

 

Terrific as the entire cast is, no one takes the film away from Robinson, who gives a powerful, brooding, masterful performance, clearly as powerful a performance as any he gave in his entire career, in my opinion. People remember Robinson for his still-powerful performance as Little Caesar.

 

In many respects, however, that early pioneer gangster drama is a terribly dated film. The same is not true, in my opinion, of The Sea Wolf. It's as powerful a production as the studio produced but, unlike Little Caesar, it is hardly remembered today. And that is a terrible injustice to a film that I think deserves the status of being ranked as a classic.

[ABANDON SHIP! Saturday, Sept. 14 at 10pm (EST)]

It's a shame, mrroberts, that what was apparently some of Power's best work as an actor was left on the stage, such as his London revival of Mr. Roberts, for example. Power felt great about it at the time but we have no way to judge him in it now.

 

He got stuck, particularly during the early '50s, he a lot of routine parts in the movies in which he often gave rather mechanical performances. But a gem like Abandon Ship (or Witness for the Prosecution or The Long Grey Line) shows what a really fine actor he could be when he had a good part.

 

And Power truly is terrific in Abandon Ship.

 

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!

[*CANDIDS* 2]

You're right, James. Lancaster DOES look a lot like Bill Clinton in that shot.

[Bogart Vs. Cagney Vs. Robinson]

In view of the fact that TCM is broadcasting THE SEA WOLF this Saturday at 8am (EST), I thought I'd re-post a review I did of the film two months ago. I continue to be amazed that this film has so little recognition among many film buffs to this day. Hopefully, with tomorrow's broadcast, it will be a wee bit better known and recognized by some for the moody, rich literary film adaption that it is:

 

 

SPOILER ALERT:

A film that has long been a Robinson favourite of mine is THE SEA WOLF. But this highly skillful adaption of the Jack London novel has always been a bit neglected, I strongly believe. It also has one of Eddie G.'s most convincing performances (and that is saying a lot, considering out brilliant he often was in his other roles).

 

Director Michael Curtiz and cinematographer Sol Polito are in peak form here, with a constantly moving camera always reminding the viewer, even if subliminally, that the action is set on board a vessel.

 

Robinson's brutish portrayal of Wolf Larsen, the sadistic captain who enjoys inflicting misery upon those helpless under his command, is no simple two dimensional characterization of a stock villain. Quite the opposite, the screenplay makes a point of a psychological study of him. He is portrayed as a well read, highly intelligent man who, in essence, failed to succeed on land so became the captain of a ship where he could rule with a iron (and, at times, very nasty) fist.

 

"Better to reign IN HELL than serve in heaven," Robinson proclaims, a line he borrows from John Milton's Paradise Lost, because it so sums up his own life and philosophy.

 

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!

 

Robinson has a magnificent supporting cast in the film, too. John Garfield and Ida Lupino are both highly effective, portraying two outcasts of society, now finding themselves under Larsen's tyranny, combining forces for survival. There is an tough unsentimental "love" scene between the two actors at one point in the film that is genuinely touching for the honesty of emotions so eloquently expressed by two hurting souls.

 

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HjStNtHtWdI6LGJEAARQcfhEbQHZEgvegrD5caFvLE0adVRmynOOpKpSTEu1JRGv9dL3BrapXYuKOxseRjGB7nEWeoC5gSnutDhHEn4Uz5GhrnPbyIWg2cfiUc4r/N1aUQ0Tos2N7ZzzFoafIVSuxvoeI2UBgR3UHHdMXhBfLQSCb3AC1UlnDbsoc2QNdVTklLjQQHbkyiZroqsdD1Uc7iObXIG8grcI2JCQA9wVfiLhsUGPI973lzySfNEwfvuPK34hCfVSJgn+4/wCK34hB6ESSSWavNzatTHQKA3RBstA409iv8MfUvIdAVQU43Fjg5uhGyYjqGgAapOeACs/Hzudn/u6hEfIC2yUoaeS9lWsc1uNp5pBSq85J7ICzUQa1VSRlDREL3OcGNGp2QS/mPsRUpYHwhhds8WCD3tUA9w7q3HM2RvIt0vq4YdRpaIrCQ1qptmI2VprI78TQixxxh3haEFjh4Pom82h1NLVjAdsdVmxECqpXIXkdUBpHuiaT081gzzW8nuVvZBDsd9/wC1czIQHFA8jhRsqu42LScbNqN6EDZFOx2uqs43KZmhxoFwsqoN0QGiiO54m3GkkBYxrC0ADl0sLOeWizaxWZ0xYAXWWirKHJnSEbINiTIa3rqqWRlA7FZhnkeSbKJDG5xsoogL5XaBXsTGohzhqo40VEK8wUAiJkhrNFi8Rk8R11WrkSBrPyXP5UnpJSRdIAORcH77j/itIQj5ouCP77j/itIRXoRJJJZjzf1J3NqVoYOpPmiD9lpRJLVMCluUBYpDGwrLpZqpJw4hEWHuJG6GX6aKBdomGvsQJriHg3qCndfMSeuqidCnd3GyBB1FXo5y9vK7eln7Ikbqo9kFlzyCpsl1tAfqbHVMCRsg0o5b9vZXYJhpaxo5FdhdZFboNOWYCF1dlzkxt5rRbDwfQu71osSX10EU22ylRpROqBA2iMYXOAAslDANgDqjekdGCGgDzQPPyxgBpBIVZz3EalK13rGtUMtOw1KCcbjem61oW01jxs7fyVbDwiNZd627K5iyjndABYA8JKKPGQNtEb0grdVQfMJSSFrCegCIBxHIPLytO6yydbU55DK8u7oaBHdGwR/fYPxW/EIKNgk/Xcf8AFb8Qg9BpJJLNXm1vVEbqhtpFb/RaWBeSfS0gNSn690wMm81LpqmpAm6HZEFEaHXshDXyT1roqh3b0pBpLCegTBxGm6mHjkIqrUATfVSbqaTbqTe/6IDE3Dru0qF6J4jYkBuyNFAlIJtfSt4ko5gbVAnopscWkINt8jXMNdljTA8xKMJ/CBaFI7mFooROlJJdUqQEgFyCvaiPhdZc71AnwgPSmyAANUVOHuDGagfFEV5Hl58la4bGxznOdq5tcqrhJ6q/w/G5Zep8wirE7gyItG53K1GcNZi4JnyQPTZDaaL9Rp/qVpcD4JE9v1vNYHD/Tjdt/8ig8fcwiQtJFUR7QiMaWBrXuA7qllEBhHdab6LiTwhrbceyyZ/5rr2CRWY9tHyUDurmUGtYGj1t1Tok2iEj4P33H/Fb8QgoACcyA1tI34hB6CSSSWauZ4n/DX6OM4jO2GHIjjB8LGzkgfrZ/dV/s54B2yvffJJJdbQ/wBnfAe2V775JHHXAe2V775JJIF9nfAa2yve/JL7OA9sr3vySSQL7OA9sr33ySzvgPbK978kkkQ32dcB7ZXvvknP8OA1tle9SSSKX2dcA7ZXvvkl9nfAe2V735JJIEP4ecCGwytf8AnfJI/wAPOBdsr3vySSQL7OA9sr3vySzvgXbK978kkkCH8OAjple9Sf7POBdsr3vySSRCzzgXbK978kvs84F2yve/JJJFO3HvA2g8v1oWKP875Jvs94FdgZV/i/JJJBIfQDgg2OV735I0X0J4VEP5cmUP8AqD/wkkg0BwGINLfrmWW9iWH/ALVVniXD8gETS5DgTZ1aP8AtSSQQP0N4aQ4GXKLXbgvbX6UhOgvBy4m8n8ngf0SSQCf/D7gb/WGSfqP8AwmzzgXbK978kkkCzzgXbJ978lOHH/AARkjHNs2CCP5vySSRH0P8AsnG7yf8A2SSSXKv/2Q==!

 

Canadian actor Alexander Knox brings intelligence to his role as Van Weyden, the seemingly wimpy pulp fiction writer who finds himself as one of the helpless under Robinson's authority on the vessel. Knox realizes that some of his best chances for survival are if he plays up to Robinson's ego, as well as his intelligence, by trying to psychoanalyze the complex captain, who desires to better understand himself, in his cabin.

 

At first contemptuous of Knox, because he is "soft, like a woman," Robinson's respect for his character starts to grow as he realizes that Knox is the only person on the vessel with whom he can make an intellectual connection.

 

Two of the film's best performances, as well, come from the character support. There is Barry Fitzgerald, as the knife wielding, cackling "Cookie." A corrupt, evil little man who plays secretive informer on the crew in an attempt to curry the captain's favour, he would just as soon turn on the captain.

 

One of the film's most memorable scenes occurs when Robinson decides, much to the crew's joy, to teach Fitzgerald a lesson by tying a rope to him and throwing him into the sea, to be dragged, screaming, through the water. Suddenly the fin of a shark appears. I'll say no more but what follows is truly gripping.

 

 

And then there's another Canadian actor, Gene Lockhart, giving, perhaps, the performance of his career as the ship's doctor who has taken to drink and is the butt of everyone's humour. Lockhart remembers when he was on land, treated with respect. He at one point stops drinking, cleans himself up and in a sensitive moment pleads with Larsen to have the crew treat him with respect, an acknowledgement that he feels he deserves as ship's physician.

 

In a truly agonizing scene Robinson makes a point of humiliating Lockhart by tripping him in front of the ship's crew, who all burst into laughter. Lockhart, in one of the great dramatic moments of Mike Curtiz films, then starts to climb the vessel's mast to get away from his tormentors. When he gets to the top of the mast, Robinson and the crew, having had their fill of laughing at him, yell for Lockhart to come back down. Lockhart, instead, yells defiantly at Robinson.

 

Then, in what is probably the most electrifying closeup in the entire film, Lockhart proclaims, "I'll come down, Larsen. IN MY OWN WAY."

 

 

Not to be forgotten, as well, is a moody, evocative musical score by the great Erich Wolfgang Korngold, which adds immeasurably to this atmospheric production.

 

In the true tradition of Warner Brothers, this film touches on the subject of oppression, a theme to which the studio returned time and again in its dramas. Even in a highly charged drama, set at sea, such as this, the human element is not lost, adding immeasurably to the power of the production.

 

The Sea Wolf is a great film, in my opinion, which, fortunately, does appear on TCM on occasion. I can't recommend the movie enough, not only to Robinson fans, but anyone who enjoys highly dramatic and, at times, even unexpectedly moving, filmmaking.

[ABANDON SHIP! Saturday, Sept. 14 at 10pm (EST)]

A little known but excellent portrayal of survival on the high seas (Atlantic Ocean, to be precise), Abandon Ship deals with the plight of 27 survivors of a ship disaster all crammed into a lifeboat that is designed to hold just 14. The film concentrates on the drastic decision that had to be made by the officer in charge of the boat, a decision some would think necessary while others would deem it morally reprehensible.

 

Based on a true event of a 19th century ship disaster, Abandon Ship was filmed at Shepperton Studios in England during the summer of 1956. A largely British cast, headed by an American, a 42 year old Tyrone Power, is excellent in this grim, at times harrowingly realistic depiction. It really is hard to believe at times that the film was shot in a studio tank.

 

Power's increasingly haggard looks as he aged works well for him in this role as the officer left in command after the ship's captain expires. There's nothing glamourous about the actor in this picture in which he delivers an exceptional performance, unquestionably one of the finest of his career. It would be, in fact, Power's third last completed film, filmed two years before his death by heart attack on a Spanish film set of Solomon and Sheba.

 

 

 

 

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!

 

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!*

[Bogart Vs. Cagney Vs. Robinson]

That's right, Jim. Tomorrow is prison film day on TCM and at 1:15pm EST they're showing a Cagney-George Raft effort, Each Dawn I Die.

 

While I would not rank this film as one of Cagney's better efforts, it's still not without interest. Raft plays a hardened career criminal while Cagney is a newspaper man railroaded into prison.

 

One of the more interesting scenes in the film is one in which Cagney appears before a parole board to plead his case to be released from prison. And Cagney has the courage as an actor to do something in this scene that few other tough guy actors would dare to do.

 

In his desperation to get a release from prison from a parole board that is prejudiced against him, Cagney's character, after an initial outburst of anger with them, almost immediately expresses regret and breaks down and cries, pleading with them to give him a chance at freedom. Cagney sobs for fifteen or so screen seconds, almost uncontrollably.

 

The actor had the confidence to be able to do a scene like this without the concerns that it would compromise his image as a screen tough guy. There are a handful of films in Cagney's career in which his character cries (Taxi comes to mind, The Crowd Roars, I believe, as well as Yankee Doodle Dandy). But he also does it in this film, Each Dawn I Die, a fairly conventional prison melodrama in which everyone is strutting macho.

 

Bogart shed a couple of tears that you don't really see in Casablanca while drinking alone in his club afterhours. Eddie Robinson had that marvelous scene in Little Caesar in which he couldn't bring himself to shoot best pal Doug Fairbanks Jr., backing away from him, with tears in his eyes.

 

But of those three tough guy actors, it seems to me, no one shed tears quite so uncontrollably at times as did Cagney. In Taxi he virtually breaks down and weeps on Loretta Young's shoulder. That was in 1932, it didn't hurt the film's box office performance, and Warner obviously decided that, on occasion, Cagney could get away with it in his film roles.

 

[Bogart Vs. Cagney Vs. Robinson]

Thanks, mrroberts, for the notification of this Saturday morning's Edward G. Robinson double bill which, includes, for my money, possibly the film of his career, The Sea Wolf.

 

Kid Galahad is an okay gangster melodrama, with a boxing backdrop, primarily to be viewed because of the cast. Not only does it include Robinson and Bogart, but Bette Davis, as well, as Eddie G.'s girlfriend (this being the same year she would make Marked Woman, also with Bogart).

 

It's apparent in watching Kid Galahad, as well, that Warners was trying to promote Wayne Morris, featured in the title role, into future stardom. The studio would soon lose interest in Morris and he'd be relegated to being the lead in some of the studio's "B"s.

 

Also of interest, Bogart would appear as the lead in a Kid Galahad remake with circus trappings in 1941 called The Wagons Roll at Night. It's a pretty tired melodrama, squeezed in between Bogie's two breakthrough roles in High Sierra and Maltese Falcon. Bogie plays a jealous type, resorting to letting a lion loose to get vengeance on a rival, if I remember correctly. Hardly the iconic image of the "cool" Bogart that he would very soon come to be on screen.

 

And for Cagney fans, while its scheduled in a terrible timeslot (4:15am EST Friday) TCM is showing LOVE ME OR LEAVE ME, with the actor featured in one of his best roles of the '50s.

 

He plays Marty Snyder, known as Marty the Gimp, a smalltime gangster who becomes the benefactor of an ambitious singer, based on the life of '20s songtress, Ruth Etting. Doris Day plays Etting in the performance of her career. Her scenes of conflict with Cagney have great dramatic impact in this film. Cagney, a generous actor, I'm sure had something to do with the fact that Day rises so magnificently to the occasion in this film.

 

Cagney plays his part as that of a mean, small minded, bull headed individual. He still reveals the Gimp's emotional vulnerability, however, particularly in the film's last scene. It's an honest portrayal, without any cheap attempt by Cagney to resort to a fake sentimentality. Cagney later wrote that Love Me Or Leave Me had a perfect script.

 

 

Love Me Or Leave Me - Friday 4:15am EST

 

 

Kid Galahad - Saturday 6am EST

 

 

Sea Wolf - Saturday, 8am EST

[Bogart Vs. Cagney Vs. Robinson]

*jamesjazzguitar wrote: I ask since the final scene with Gold Tooth and Dobbs was added by Huston*

 

No offense, James, but the name by which the bandit was known in Treasure was Gold Hat, not Gold Tooth. Having said that, though, if you actually had a gold tooth I'm sure that Gold Hat and his men would have been more than pleased to make your acquaintance - particularly out of a mountain trail.

 

 

Ah, my very nervous friend, can you not open your mouth just a little bit wider so we can all see that very pretty tooth?

 

 

Quick, Pancho, the pliers!

[Bogart Vs. Cagney Vs. Robinson]

Yes, mrroberts, I agree. The flophouse scene indications are clearly that Howard has already been through a few fortunes, and he has a great adrenalin rush on going for another hunt, if he can find the right partners. I wouldn't go so far as to say he is nonchalant about finding a fortune (after all, he was reluctantly ready, along with the others, to murder Cody!).

 

However, Howard has a more life-experienced philosophical attitude about losing that fortune. And when it is then taken away from him, not by a bandit or greedy partner, but by nature itself (the wind) he has the maturity to see the irony of it and find it funny. Curtain, perhaps a little surprisingly because he's such a young man, catches on to the humour of it, too. And perhaps he's more than a little influenced by Howard, too, a man for whom he has obvious affection and respect.

 

Treasure's brilliant screenplay, as written by Huston, places a great emphasis upon fate and irony.

 

Speaking of Curtain, the DVD special said that Tim Holt had hoped that Treasure would free him from all the "B" movie projects in which he had appeared. It didn't happen, and he would be back to the minor league westerns, as well as the star of The Monster That Challenged the World. Still, I can't feel entirely sorry for someone who has a film like Treasure on his resume (not to mention Magnificent Ambersons).

 

Falling into the "what if" category, John Garfield had been under consideration for the role of Curtain. That could have been inspired casting, in my opinion. It's true that Garfield had a built-in cynicism as opposed to the innocence of Holt, which was a wonderful contrast to Bogart and Huston. However, I think Garfield was such a great actor that he might have made the character more interesting than did Holt.

[Bogart Vs. Cagney Vs. Robinson]

Some time ago I created a thread on these boards called "Treasure of Sierra Madre's Ending" in which I seriously questioned the reality of the film's famous last scene. I didn't believe that two gold prospectors, faced with the reality that their treasure had been blown away by the wind, would suddenly burst into laughter about it. Some readers agreed with me, while others disagreed and thought it could happen.

 

Now I'm not so certain about my earlier conviction that it ran against human nature because of one of the very actors in that scene. I stated a few posts earlier that one time Walter Huston, when faced by some horrendous theatrical reviews of his performance as Othello, responded to them by bursting into laughter.

 

I have never, when faced with some kind of disaster, responded to a situation in that manner, but that's just me. Perhaps, at that, some others would. Certainly it appeared that Huston did, so at that moment when he played Howard breaking up over the irony of the gold being blown back to the mountain, I assume the actor really could identity with his character then.

 

On the other hand, I still don't quite understand why all those Mexican villagers on horseback, not a sign of an understanding of English to be found among them, also all burst into uproarious laughter along with Howard and Curtain, in that same scene. There must have been one quick English to Spanish translator nearby that I didn't see.

 

One thing, though. The film turns decidedly grim towards the end in its final scenes. Not a lot of happiness there. It was obviously an attempt on the part of the filmmakers to end the film on a somewhat upbeat note. I seriously wonder if the Traven novel ends in that fashion.

 

It sure is a classic ending to a classic film, though. I love it.

 

[Bogart Vs. Cagney Vs. Robinson]

Sorry, James, I haven't read the novel so I can't answer your question. As stated earlier, that quote of Huston's about screenplay changes to the novel came from some CD notes.

 

Much to my exasperation now, I can't find a paperback copy of the novel that I found in a second hand bookshop years ago. That is, I think I had a copy of B. Traven's book but it's been so many years since I saw it, now I'm not so certain.

[Bogart Vs. Cagney Vs. Robinson]

Certainly Roy Earle in High Sierra was a crucial role and performance in Bogart's career. Without the success of that film, in combination with The Maltese Falcon, both lucky casting breaks for the actor, he probably would not have had the career that followed.

 

Considering the fact that Treasure was considered to be one of 1948's prestige releases, reflected by the fact that it received numerous Oscar nominations, winning a number of them, it's surprising that Bogart was overlooked as a Best Actor nominee. It seems, at least to me, like a no brainer to nominate the star of that big a film, especially when that star is doing a character turn unlike anything he had ever attempted before.

 

As for your suggestion, mrroberts, to have featured Bogart, Cagney and Robinson together in one film, logistically that would probably have been murder. To find a screenplay with three strong roles for three dominant personality stars like that might have been a small miracle.

 

There would also have been the small issue of billing, another nightmare. Robinson's star lustre was clearly dimming by the later '40s. It would be difficult to envision either Cagney or Bogart willing to accept second billing to the other, however.

 

Once he became a star Cagney always got top billing, right until 1955. (I don't know how tough it was for him to get second billed to Doris Day in Love Me Or Leave Me or Henry Fonda in Mr. Roberts. Truth is, though, I've never heard of Cagney having a big ego).

 

As for Bogart, once he became a star in 1941 he never got anything less than top billing right to his final film. Amazing how professional ego and status will trump everything else, including friendships. Neither Bogart nor Spencer Tracy, the best of friends, would budge on the issue of who got top billing in The Desperate Hours. The result was that Tracy backed out of the project, even though he loved Bogie, and was replaced by Frederic March, with whom, to the best of my knowledge, Bogart didn't have much acquaintance.

[Bogart Vs. Cagney Vs. Robinson]

A couple of added observations on my favourite Bogart film, Treasure of the Sierra Madre.

 

*Walter Huston as Howard:*

 

The first time I saw this film, as a kid, the only actor in the production that I knew by name was its star, Bogart. To me, the old guy playing veteran gold prospector Howard was very good in his role, but he was just that, an old guy.

 

Since then, of course, largely thanks to TCM, I have come to appreciate Walter Huston for the great character actor (Canadian, too, a Toronto boy) that he was, ranging from his earliest screen roles, such as playing villain Trampas in the '29 Virginian through films like Beast of the City and Dodsworth to, finally, his last film role, in The Furies.

 

But in all of those films he is still recognizably Walter Huston, whether he had a walrus moustache or slicked back hair or even that scruffy beard he wore as Mr. Scratch in Devil and Daniel Webster.

 

But that is simply not true of Treasure of the Sierra Madre. Oh, yes, I recognize the voice, of course. But his appearance - with those aged lined features and white hair and beard and, above all, his agreement with his director/son to remove his dentures, which dramatically altered the contours of his face, it's hard to believe, at times, that this is the same Huston I've seen in so many other films.

 

 

Note: Huston's lower plate is clearly in evidence in this shot in spite of the acknowledgement by all that he removed those store bought teeth.

 

Huston is so good in this film, drawing upon his years of acting experience to bring an even greater depth of knowledge and wisdom to the already wonderful dialogue provided for him. And, perhaps that's the difference between watching him and Bogart in this film.

 

Bogie is brilliant as Dobbs, of course, truly a great performance. But he is still recognizably Humphrey Bogart, a larger-than-life film star. Huston, by contrast, is swallowed up by his characterization as Howard. In many ways, as I watched his performance the other day, I could even briefly fool myself into believing that, rather than watching a highly skilled character actor playing a role, I really was watching a wily old gold prospector on screen.

 

*That Joyous Gold Dance:*

 

One of the most memorable scenes in the film is when Howard bellows in laughter and does a crazy little dance for joy when he first discovers gold. According to the DVD special on the film, Huston stated that the little jig he did was taught to him by playwrite Eugene O'Neill while working on a play of his, Desire Under the Elms.

 

 

As for that great gutteral, almost maniacal laugh that Huston performed in the same scene, the actor said that it was a reproduction of a laugh of his own that he had uttered years before in reaction to some brutal critical reviews of a stage performance of his as Othello.

 

*Five Thousand Dollars Is A Lot Of Money:*

 

That's a line of dialogue that Bogart says as Sam Spade in The Maltese Falcon. The same line is spoken by someone off screen in the Tampico flophouse scene when Walter Huston is introduced, talking about gold. Probably, I suspect, a deliberate inside joke by screenwriter John Huston.

 

*Inside Appearances:*

 

John Huston liked his little jokes and there are two unbilled appearances in Treasure. The most famous, of course, is by John himself as a white coated American tourist repeatedly pestered by Dobbs for a handout in the early Tampico scenes of the film.

 

 

Less well known is an appearance by the actor father of one of the film's three stars. Tim Holt's Dad, Jack, appears in the early flophouse scene, where Dobbs and Curtain first hear Howard talking about the gold and what it does to men's souls. And he has two lines of dialogue, asking Howard if he had ever struck it rich.

 

There's also an appearance by a young Bobby Blake as a Mexican boy who does his own pestering, of Dobbs, to get him to buy a lottery ticket. Blake got a glass of water thrown in his face by Dobbs for his effort, plus a small touch of film immortality. Well, maybe this one qualifies as an "inside" performance today only because of Blake's later fame (and infamy).

 

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!

 

 

The person who does NOT appear in Treasure, despite rumours to the contrary, is Ann Sheridan. Yes, there is a photograph of Sheridan seemingly in costume to have a gag appearance as a prostitute who passes Dobbs on the street after he comes out of a barber shop.

 

 

And in Ray Hagen's book, Killer Tomatoes: Fifteen Tough Film Dames, he has this quote from the actress whom he interviewed:

 

"Oh, Treasure of the Sierra Madre. I had a black wig in that. I played a hooker. I walked down the street in a big fat disguise to see if Bogart would recognize me. There's a shot where he comes out of a bar - I guess he had the toothpick, he always did, and the hat turned up - and he passes me and then turns and looks back. And you see a girl twitching down the street in a black satin dress. That's me. A bit. John Huston whipped that one up."

 

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3g0Oe/MAdVmf48hxzRJlspBoAc3IDIHhwQK01i6p1cwIkxqeCdWwspO2AA8lTtj2uIc1xDhtDXEfAKlWrufOLG8AGAGEAmNcxmgq2SsMsx6hZ86kzB1d81BY7xaHDGxpG2GiY/MKOrUY52WQknIeiDpefh8j/RdbXIO/8AP9E5rQYE7Pz8l1lME8P7yUBTovb3YntBYHEE9oE7OCz76jgXZiZM6FaHpR0f6qnSqtAALGB4GuItBnzWcLEFyy20gGTs0UFjtGCoHEBw2g5yNyiaE5lOTtjggK2avT6WE0WO7MHtATA7RcQI2yi1Ro/SBLg6NC0gtJblIIOeqA2e7ariA2njBOoE/nzR/pBc1WnUptc8BxpdZ2QREYobEwO6Blkgv3bVw2hpPde2CNmLUeuYW8sdpFFtSoRAbTc7xgZAfBYiyXMKrmtcSWmm1wJydiIkGRxhNo9IqrjTpGBLQXETJgGQR7wCDS2S2scOyeMQSc98BDOmVrabPhznECJDhEZTmPJNo3gabsc5DXiEL6R2/rWOfsMRwE5BBlif5eamoaj7Yciq5PNvNTUDmPth/MgI1H9r97aOSl60hjCMJIjvZ/UaMuKrPOf7y0clXvioRSpwSO0Mxr3WoLNWzU2kyzDizMVJaDE5At8T5o9ZW9aCC5uga32oaGggkbds8VgiST3nEcZ/FX7uvA0nNIJAxA5b9Dl4EoC3Tmo1lGrS24qLtIrhz/a7IledLSdLbY59SpizMtz0ywiBH52rNoEkkkgSKWPuDz5lC0UsfcHnzKAdX7zvE80xPr953ieaYgSSSSC1d7Zf5Fai63ZN8CgPR20NZWl7cQwuEHSSIz4I9Se3PDumBmBOwFBLZhL283mFu3URsA9AsHZXdtnvN5hegFqCvUp5Oj2HKzTaQ0eA5KMDX3XfJdtlqwtbGpaPLIZoK9ttM9kef4KBlJcphSsGcIPLSnUwZy1Ga0duuoWZrcb6T6jgZpQHmnuxO0nM5TsQhlPvHIEAxAAzJHylBFQpg950cP6o5Z8AA7dOBGWc6l0f9ig1Os9oIwtcOLQ458dUjbG/WpRxBIDpQbvpxVDqLKcxJH/AFGSxAsh3hFOld74q2EDuhonjEmEHFs3oL9CgIzhOtNMAEs1jMCIhVqVSdqI0aTSNZnIaC30OtE1HA6QMlqemtkxOs1Vu0OpHzGIfNYW66/U14nI5fgt5eVox2NjtcFVh9ZCCO7XxjnfRp/d/oUKqWOLSz96PUuePg9EsOF1Lc1tMDyFT5FQdJgW4XsyknP3mAfylAHvS0ycA0Bz4ncqFWt9G5uzIj1Eq82jTjE8vJ2gQBHjqqF41AZImNACdBuQDfxapqGrftfxUBPNqlsx7TPtPxQWy771oUV7ujZ4n7rU6edoUV9j6NnAnk0IBmJcqu0UROSe0TxQE72srDY6lY5vcnGegiDI4kH0WRWoviylllgnPEPidFl0CSSSQJFLH3B58yhaKWPuDz5lAOr953ieaYn187xPNMQJJJJBZu90P8AIrSXcBBO0j5rNWEdryK0d3aDwPNBNZj2m83mF6G52a87sw7TfEcwt66mEHLRawwEn2XZcckNZb2kAue2cI2jcNidbh29MurJ851XbJ3G63kED2WtuyT4NcfkrVGqQD9G8k8AOZCkstGczoNFaFQBB5VTqQYdrPjnv8VZFB2Alokn8kom8yTInMqaiMoQZzrHt1bP54KSnbATBC0TrPOoB8UNveyhrQRkZ01keCChb6weSZkkkqk2nJT3QTkMKja5BbomMlaY931UN6xW7HaCCEHK8ioCfH4re06v8A8edjqZ/7ALF3xVxOa4Rps8VpqFN1a767GAlwDHwM5a0gujwEnyQOq3lOCnrmXDfk2m2B8T5olewx2Vp9lzfmPmsndNkbUaHYmsdTIBLiACDp4/0WorWymLOWOrMlwyEgkZyCAM0Adzgh14UoHAonabC5oxNOMDM7DG/iEMtjyWZxqPFALPzHJSWXvM0/FRfiOSksp7TPtEFgOyH79MvqMNMGYl2ng1dYeyPCv8kr0wzSxHs4jOOzMeUoK1ChRLw09Zhg6ZuxZDdoiFku2liamXFok9rflEfFQWe1UW15hxaWgDMzj7MlxmY1U9vtYAhsDLZoAgo9JrXiY5rdA4fDqyqK244mOO4j6FIEkkkgSKWPuDz5lC0UsfcHnzKAdX7zvE80xPr953ieaYgSSSSC1d3f35FH7HVzOzggF29/yK0FnZDQfFBYsx7TfEc1vnBYCkO2PEcwvQXIBl4jt/u3cwn3ZQLms3YWyfIJW2iXVABrgd5ZhXrK5raTACO63zyCCw5wGQUTBtK51g2SfJVLRXMwgyRthkxhOZ5pNtrzEKepdAY7Mh057dqnpDDu9PmgbQtFTd65IXe9QufBIJHojL6gjNZqvVlxPFBXfBUBEKfAmVWQg4xTUzBVdqmZqgt2FjCZqSWjYMpWw6F3hggjYT5jcshYKcwDva2129HMTSab4n8eEgIKXSLo22keupw6jUJcBHcJk4T4aLPdTNUAbQAPhK9ItNjP6HXDyDkXER3XbYCwFjj9Ipzd3yQG70tnVU4bqeyPAa/nis1a63dA4n0CK9IKnbA3N5niAPqduOHptQcnTxHJPsp7TPfajOvn/Ku2U9un7/AM0Fhh7I92t8kr2jsYiQJfoJ3JtM9ke5V5hWbS1pgH9qPVBSutlMPJLpYGOJygkxoAeMKrjcXZOO30V2rZBnE6eSqMEHtA7figG2p3Z8wqK0N6sa2z4QQYcPqif4pWeQJJJJAkUsfcHnzKFopY4PPmUA6v3neJ5pifX7zvE80xAkkkkFu7P1nkVpaPcb5oJ0abNfQHsuyO3JHGWN7TJaQEDaZ7Q8Qtui46uWIpHtDxHNbp780DKVmhwnPNW7O0BsAAQXD4lQMdmPFdbUADidjncyglr1sI47FRGqifWLjK6yZQK2WQOM4oyQpQZsrN8/7qxb7zFNwBBMjirOvWm7WnPjh5oKVucGsMVGO8Jnks9UcjF8WphbDWBvGflogbjKBwqJVTITWOnIpiDrU9pTWpFASsGzxK9D6OVtF51QIAHitrcFsyAlBrrdTHV1W7Hsd6wvJbNXArhx0BPwXpduvIBrRB7RIlYWyXQHguL9XOyjSCRHwQVL3tAdUJbmIHJCqOLFGULUC6Y0LfMKpe12uZTLiWkSBlxQATr5/ypWU9tnvfNcOvmeSVk77PH5hBYpnsN9ypzC7eZ7v8Au5plPuNzf8AeCnttAuAjZi8UFKnaS3iNxVo2pjxrM8VRewhRBxDhCDt72gGmRgLTIzLpCCIveMGmTtkeCEIEkkkgSKWPuDz5lC0UsfcHnzKClWouxO7J1Ow71H1DvZPoV1JBzqHeyfQpdQ72T6FdSQXrlpPFUQDodhWkbRedTH54JJIHNsgkZkDXfOFq5O4iSSDgeQ4ZHXcqP6S52KAYxv2HeupIJ20zuPoVNTYdx9EkkFG22trHAODsxsBKTLyZuI8Wn8EkkGc6S18bxhBgDY0j5IQ1rvZPoUkkDnMOoa70K6aR9khSSQdFMx3T6FM6p24hSSQGzdRFkZVzkkgiDvP4K1c9odIyPhBSSQbevZSiw5jCZ4/nJZa8Ojr6lQuaIBzjMZzwCSSBg6PVBoB6n8FWvS6qjKRJGUgZSd/BJJABNIz3Tqdh3LtkpHGzI67jwSSQT0qZwDI/q3bDtei1noEg9knM7DvKSSDla7wRGEhVCtcW6fRJJANvS6nspE4SRiAnmqBdQ72T6FdSQc6h3sn0KXUO9khXUkHOod7J9CidjouwDsnbsO8pJIP/9k=!

 

Final shot of prostitute in film, with Mexican actress Florita Romero

 

It's obvious that, assuming as Sheridan says, she did film a gag appearance as the hooker, that her scene did not make it into the final cut of the film. It's interesting that Sheridan herself didn't seem to know it. I doubt that the actress even considered the matter to be all that important anyway. Who knows if she even actually saw the film.

 

Bruce Bennett as Cody:

 

Generally speaking, viewers and critics don't make many references to Bennett's supporting performance as the American who briefly intrudes upon the three gold prospectors, hoping to make a fortune of his own, before he is killed by the banditos.

 

Bennett, a former Olympian and screen Tarzan, was a limited actor but he prospered for a short while with a Warners contract in the late '40s. He brings a likability and sense of decency to his characterization of Cody. That, I suspect, may have been a built-in part of the actor because he brought that same quality to so many other roles he played at that time, as well.

 

Bennett initially had difficulty grasping the character of Cody. John Huston gave him a little advice, a lynchpin upon which to hang his characterization. "You're smarter than these guys," the director told him, and from that Bennett was able to get a fix on his performance.

 

By the way, no offense to Cody but no one in this film is smarter than Howard, in my opinion.

 

*Gold Hat:*

 

 

Who can ever forget Alfonso Bedoya's marvelously evil interpretation of the gold hat bandit in this film. Yet the character only appeared once in B. Traven's novel of Treasure, in the attack on the train.

 

When the author asked Huston why the character would be re-appearing in the film's screenplay, the director/screenwriter replied this "would serve to bring out the fate that pursued Dobbs . . . The primary purpose was to give the moving picture a certain dramatic unity which novels don't necessarily require to be great novels. Pictures and plays, however, seem to fall apart when new characters and incidents are introduced in final scenes."

 

(This quote comes from Rudy Behlmer's introduction to the Marco Polo CD release of Max Steiner's Treasure of Sierra Madre musical score).

 

Thank goodness for that decision by Huston.

[Bogart Vs. Cagney Vs. Robinson]

Your point being, I assume, that in real life Cagney was more of a tough guy than Bogart. If that is the case, isn't it all the more reason to appreciate Bogart's skill as an actor in successfully portraying a tough guy?