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Bogart Vs. Cagney Vs. Robinson


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PHOTO GLIMPSES OF BOGART:

 

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The Battling Bogarts, they were dubbed by the press, Bogie with third wife Mayo Methot. Both were heavy drinkers, as evidenced by this picture, known for their highly tumultuous marriage, which lasted from 1938 to 1945. Mayo brandished a gun on at least one drunken occasion and on another stabbed Bogart with a knife (not seriously), in an incident kept out of the newspapers. Methot, a stage and film actress primarily known for playing tough dames, continued an alcoholic decline after their divorce, and was found dead in a hotel room in 1951, her body not discovered for several days. Upon hearing of her death while filming The African Queen in Africa, Bogart said "What a waste."

 

According to Wikipedia, Bogart and Methot joined director John Huston in Italy during the war. At one moment Mayo insisted on singing a song, much to the protest of others present. The embarrassment of her drunken singing voice became the basis for a scene that would later be filmed in Huston's Key Largo (1948) in which a washed up Claire Trevor embarrasses herself and everyone else present by singing a song, Moanin' Low, off key.

 

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Three of Warners foremost tough guys: Bogart, Eddie G., George Raft. The dapper Raft, of course, was the only one who actually associated who real mobsters, among them the legendary Bugsy Siegel, the smooth talking hood who fianced the construction of Vegas' first major casino, the Flamingo.

 

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Big Papa Bear Sydney Greenstreet with all his cubs gathered around

 

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His wedding day to Lauren Bacall

 

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Bogart was one of Hollywood's foremost yachtsmen. On board the Santana in 1951.

 

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This, I strongly suspect, was the premiere of How to Marry a Millionaire.

 

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A really sweet photo, Bogie with his son, Stephen

 

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Humphrey Bogart, family man

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Q: How did the Bacall character in To Have and Have Not develop?

 

Howard Hawks: We discovered that she was a little girl who, when she became insolent, became rather attractive. That was the only way you noticed her, because she could do it with a grin. So I said to Bogey, "We are going to try an interesting thing. You are about the most insolent man on the screen and I'm going to make a girl a little more insolent than you are."

 

"Well," he said, "you're going to have a fat time doing that." And I said, "No, I've got a great advantage because I'm the director. I'll tell you just one thing: she's got to walk out on you in every scene." So as every scene ended, she walked out on him. It was a sex antagonism, that's what it was, and it made the scenes easy."

 

Excerpt from Howard Hawks: Interviews

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Yeah, Andy that relationship Bogart had with Methot was a pretty self destructive one. His life really did change for the better when Baby entered his life.

 

Bogart would always remain a boozer after Methot, of course, ("The whole world is three drinks behind," he used to say, "and it's high time it caught up") but it never seemed to impact his professionalism on the set. The actor took great pride in the fact that he could handle his alcohol, at least as far as his career was concerned.

 

There would be the occasional incident in a night club, however.

 

From Peter Bogdanovich's Who the Hell's In It:

 

"On one occasion he and a friend bought two enormous stuffed panda bears and took them as their dates to El Morocco. They sat them in chairs at a table for four and when an ambitious young lady came over and touched Bogart's bear, he shoved her away. 'I'm a happily married man,' he said, 'and don't touch my panda.'

 

The woman brought assault charges against him, and when asked if he was drunk at four o'clock in the morning, he replied, 'Sure, isn't everybody?' (The judge ruled that since the panda was Bogart's personal property, he could defend it.)"

 

In a 1949 article in the LA Times, Bogart said, "So we get stiff once in a while. So we have a little fun. What's wrong with that? This is a free country, isn't it? I can take my panda any place I want to. And if I wanna buy it a drink, that's my business."

 

Humphrey[iBogart[/i]and+pandas.jpg]

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*Bogart Vs. Cagney Vs. Robinson*

 

If I recall correctly, these three guys were the most popular and most famous in 1930s films shown on TV in the 1950s and 60s, and on into the 70s. A lot of young boys grew up imitating the attitudes and manerisms of these actors. :)

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JAMES CAGNEY'S LAST ROUNDUP

 

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Director Billy Wilder's One, Two, Three (1961) turned out to be an unexpectedly unpleasant experience for James Cagney. (As of the time of his autobiography written 15 years after the film's release, the actor's disinterest in the film was such that he still hadn't seen it). One, Two, Three is certainly very fast in its comedic pacing, possibly the fastest of the actor's career. There is the belief that the usually letter-perfect actor had problems with some of his lines, Wilder reputedly having him do 30 takes of one particularly difficult dialogue-heavy scene.

 

And then there was co-star Horst Buchholz . . .

 

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Here Cagney threatens Buchholz with a grapefruit facial massage, an inside reference to his famous scene with Mae Clarke in The Public Enemy. In this particular case, though, Cagney would undoubtedly have enjoyed landing that fruit special on his German co-star.

 

Wrote Cagney about Buchholz:

 

"It is very interesting that not until the very end of my career did I meet an uncooperative fellow actor. As I review the pictures I've been in, I realize that each and every actor I've worked with had a part in shaping my summary views on acting. We all worked together rewardingly with what I hoped was mutual enrichment. I never had the slightest difficulty with a fellow actor until the making of One, Two, Three. In that picture, Horst Buchholz tried all kinds of scene stealing didoes, and I had to depend on Billy Wilder to take some steps to correct this kid. If Billy hadn't, I was going to knock Buchholz on his ***, which at several points I would have been very happy to do."

 

It was during the final stages of this Wilder production that Cagney simply decided to call it a career. The truth is that he had bought a 200 acre farm land on Martha's Vineyard in 1936, spending much of his best time there over the years, in 1955 purchasing another farm in New York state where he would increasingly spend even more time. In many ways, he had long been shooting for a final retirement. He was a city boy that loved the peace, quiet and solitude of the country.

 

Yes, he would return to the screen during the '80s for appearances in a pair of films, appearances done reluctantly on his part. One, Two, Three, though, would essentially end the tough guy's film career. He did so, I'm happy to say, with an at-times breath-taking display of gusto in his mile-a-minute comedy dialogue delivery. Problems or not during production, it doesn't show on screen. The old pro still had it.

 

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!

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TomJH-I can say that One, Two, Three, Boy Meets Girl and Never Steel Anything Small are Cagney's worst films.The movies being bad having nothing to do with Cagney. He is good in them. And Horst Buchholz wasn't well liked by Steve Mcqueen and Charles Bronson when making the Magnificent 7.

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crazyblonde, while I agree with you that the other two comedies don't work particularly well for me, I rather like One, Two, Three. Perhaps the film is more fast than really funny but the film's high energy level, propelled so much by Cagney's performance, along with the appropriateness of Wilder selecting the Sabre Dance as background music, makes this Cold War comedy quite entertaining for me.

 

Cagney plays the ambitious Coca Cola executive with the same ruthlessness, albeit for comic effect, that he had played so many other tough guys in his career. It really is a joy for me to watch him in this part, no matter what the actor himself thought of his somewhat sour experience in making the film.

 

Billy Wilder had this to say about the film:

 

"We knew that we were going to have a comedy, we (were) not going to be waiting for the laughs. But we had to go with Cagney, because Cagney was the whole picture. He really had the rhythm and that was very good. It was not funny. But the speed was funny . . . The general idea was, let's make the fastest picture in the world . . . And, yeah, we did not wait, for once, for the big laughs."

 

Cagney wrote the following about One, Two, Three:

 

"When Billy Wilder gave me the script for One, Two, Three, its foreward said in effect, 'We are embarking on a job here that requires sixty around the curves, and a hundred miles per hour on the straightaway.' I can see why he thought of me. I've been a rat-a-tat talker all my life. But when we went at it, it verified for me that speed is always relative. Something is fast only because something else is slower."

 

Cagney explained to Wilder his experience in dealing with Warners brass when he made Boy Meets Girl twenty years before, wanting that comedy to have a few slower stretches in it so the audience would have a chance to breathe again. Clearly the actor thought that the final 1938 product produced mixed results.

 

". . . let's benefit from experience," Cagney told Wilder, "Let's take our time for a spiel, then pick it up and go like hell again." And this is what we did to a degree. I never saw the picture, but they tell me it was funny. I hope so. It was certainly a lot of hard work."

 

I'd be interested in hearing what any other posters think about Cagney's last film before retirement.

 

 

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Tom, I've always liked One, Two, Three very much, always have. You've already stated the reasons why, and I couldn't agree more. It is all about the speed that the lines are delivered, but I might add I think the script was funny, and I thought the storyline for that time period of the Cold War was clever. Very good performances and Cagney as usual was great. I've seen the film many times and I always enjoy it. Good post, btw.

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Thanks very much, lavenderblue. Glad to see that you think One, Two, Three is a fun film, too, even if it falls short of the classic status of some of Wilder's best work.

 

You may be interested to know, too, that during production (the film, of course, shot on location in Bavaria and Munich, as well as Berlin) Wilder received some complaints about the use of the Coke brand name by Joan Crawford, recently widowed by Alfred Steele, and now appointed as one of the board of directors for Pepsi-Cola.

 

As a result, that's why, to appease Crawford and Pepsi, we see the film's final joke, in which Cagney is shocked to see a Pepsi bottle pop out of a Coke machine.

 

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!

 

"Schlemmer!"

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Thanks for that bit of info, Tom. Wilder is a very favorite of mine. That Pepsi joke was another very funny and clever ending to one of his films. Too bad Cagney and Wilder didn't get a chance to work together more often, although as you already know, Jack Lemmon and Wilder to me were a perfect combination (didn''t forget that Duryea idea of yours) ;). You know, Cagney was fluent in Yiddish, and I bet Wilder and Cagney had some very interesring and funny conversations while making *One, Two, Three* .

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I think Cagney's last 2 films were much better than ONE, TWO, THREE. RAGTIME a great story and great performance by Cagney and others. And TERRIBLE JOE MORAN where he is a retired boxer who tries to help his grandaughter and tries to get close to her. Nice story. Cagney and Art Carney do a great job as well as Ellen Barkn. TomJH- The picture you posted of Cagney's boxer painting is seen in this movie! Also, clips of Cagney boxing in his earlier films are shown in movie. As well as, appearances by then Mayor of NY Ed Koch and Floyd Patterson.

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crazyblonde, I didn't know that Cagney's own painting, The Winner, appeared in Terrible Joe Moran. Thanks for the information.

 

It's been decades since I've seen that film but I remember finding it terribly depressing because of the severe health problems that Cagney was undergoing when the film was in production. It's not the way I want to remember him.

 

There's been a lot of speculation about Marge Zimmerman, Cagney's caretaker in his later years who obtained power of attorney over him, took over his life, drove him away from his children (according to some) and pressured him, largely against his own will, to make that last film.

 

You can read an article on Cagney and Zimmerman at this link:

 

http://www.jamescagneyonline.com/Article-on-Zimmerman.html

 

Particularly disturbing is the account of how Cagney, on the Terrible Joe Moran set, wracked with arthritis and watching an image of himself as a young man in a film made 50 years earlier, suddenly broke down and started to cry. I hate the fact that making that film put Jimmy Cagney through that turmoil. It's not a film I intend to watch again soon, if ever again.

 

 

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TomJH- I understand how you feel. I felt the same way about it. But I recently bought a copy of the film to complete my collection. I haven't seen the movie in 19yrs. and decided to give it a chance. I enjoyed the film very much. I think Cagney wanted to get back to work. It made him feel better and he enjoyed working with the cast. Cagney always cried easily. He was a sensitive man. He cried when I saw him at Yankee Stadium in 1981 because everyone was singing YANKEE DOODLE DANDY to him. I think Cagney was very depressed when he made 1,2,3, that's why he stopped working. He struggled with that movie, it aggrevated him more than any other movie.Maybe that's why I don't like that one.

 

 

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>Since Cagney is 95% of ONE TWO THREE, how can the movie be bad if Cagney is good? Nobody ever accused Wilder of writing a bad screenplay.

 

If ya don't mind here finance, I'll attempt to answer this for ya.

 

As far as I could ever tell and after watching this film maybe three or four times, is that for whatever reason, the rapid-fire dialogue delivery in it(and by ALL the actors involved in it, not just Cagney) just doesn't work.(at least for me, anyway)

 

Nope, sorry, but all I've ever felt was that it was "trying too hard" to be clever and topical.

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What, Dargo, you disagree with my assessment of One, Two, Three? But we never disagree! I'm shocked, SHOCKED that it has finally happened!

 

But I also understand your viewpoint, and understand why others may have problems with the film for the same reasons. And, let's face it, the topicality of that comedy does date it, and there would be many modern viewers (heck, probably most) that simply wouldn't get a lot of the inside joke references. (Though that latter drawback doesn't apply to us as viewers).

 

The sheer speed of this comedy entertains me, though, along with the great skill of the dialogue delivery. Let's face it, this is the kind of material at which Cagney could, and did in this instance, excel. I love watching him in this film, as I stated earlier. He was a unique performer in a lot of ways. Bogart would have been hopeless in a film like this. Eddie Robinson could do fast dialogue, very fast, but I think he had really slowed down physically by this time this one was made. And while he could play comedy, he never did it with the same verve as Cagney. This film needed a Cagney. This was the actor's first dialogue-driven comedy in over 20 twenty years. I think the old master proved that he still had it.

 

But, who knows, Dargo? Cagney himself never saw the film, and he tended to be a rather harsh critic of many of his own films. If he had seen it, he may have agreed with your assessment.

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