Bogart Vs. Cagney Vs. Robinson

[TomJH]

It's interesting, clore, that old timer Bogart and "new face" Brando had two square offs with one another in the Oscar derby, splitting the awards.

 

Brando was a heavy favourite, I believe, to win in '51 for Streetcar Named Desire when Bogie pulled an upset win by getting the Oscar for African Queen. Three years later they were among the competitors again, this time with Brando victorious for On the Waterfront, beating out Bogart in Caine Mutiny.

 

 

Bogart celebrating after the 1952 ceremony, with a new friend in hand

[AndyM108]

Isn't it interesting that two former champs, Baer and Walcott, now both retired, would actively participate in a film that was an indictment of the sport in which they had gained their fame. Speaks volumes, doesn't it?

 

It's also interesting that Walcott later became the head of the New Jersey State Athletic Commission, which of course oversees boxing events. He remained in that office until the mandatory retirement age of 70, and lived until he was 80. At the time he won the heavyweight title he was the oldest fighter ever to gain the honor, but in his second title defense he ran into a brick wall named Marciano, who survived a first round knockdown and scored a 13th round KO in one of the greatest heavyweight championship bouts ever.

[jimred99]

Tom, I was a huge Elton John fan at the time of that diet coke commercial. I think there were like 3 versions of it. Great commercial!

[DownGoesFrazier]

I find it amusing that Walcott's real name was Arnold Cream.

[TomJH]

Andy, I don't wish to sidetrack my own thread with boxing but I might add that Walcott was ahead on points when Marciano knocked him out with a single right hand in the 13th. Yes, that first Marciano-Walcott fight was one of the true classics.

 

I didn't know Jersy Joe became head of the NY State Athletic Commission.

 

Just for clarification for Bogart fans and those familiar with The Harder They Fall, Walcott played Toro Moreno's trainer in the film, and the one that took direct shots right on the chin without blinking when Bogart wanted to prove to the disbelieving Toro that he had no punch.

 

Show business and boxing seemed to go together in the old days, to a degree. It's far from unusual to see photos of certain boxers rubbing shoulders with the stars, or is it the other way around?

 

 

Here's a shot of Max Baer once again, this time hamming it up with Gary Cooper and George Raft. Raft doesn't scare so easily, does he? Actually, considering some of the characters with whom Raft associated off screen, it's no wonder.

[TomJH]

George Raft and his underworld connections may have saved James Cagney's life. The following is an excerpt from Cagney's autobiography, and a bit of an insight into when a famous movie gangster had to deal with the real thing:

 

"In September of that year (1942), I became President of the Screen Actors Guild, and we all had a deep professional worry to attend to. Gangsters were muscling into pictures, and they decided that the Screen Actors Guild offered lucrative opportunity for exploitation. Whereupon the Chicago mob sent out to California one George Brown, head of the projectionists' union. Mr. Brown was rather colorful; he always had a mouthful of chewing tobacco, with brown spittle running down the side of his mouth, all that in contrast to a spotlight-sized diamond ring he always wore. He brought a couple of hoods with him, and together they tried to take over all the labor unions in Hollywood.

 

Fortunately, the government stepped in and they found that Brown and a man named Bioff had shaken the motion picture producers down for about a hundred thousand dollars. The Screen Actors Guild pressed the case against these extortionists, and Brown and Bioff were convicted. They went to prison, and so did Joe Schenck, who did a year at Danbury. It was not an easy time, and there were moments when things were a bit tender. My Bill (Cagney's nickname for his wife) got a phone call one night, and a man assured her I'd just been killed in an auto accident. She didn't panic but called the Guild office where I was at a meeting. There were other planned surprises. The Mob had arranged for a several hundred pound klieg light to be dropped on me while on the set, but George Raft heard about it, told the Mob that I was a friend of his, and the project was canceled."

 

It's no wonder that Jimmy Cagney always spoke well about this fellow New York street guy and film star, one Georgie Raft.

 

[jimred99]

Tom, Don't forget it was Cagney who got Raft into the movies. Cagney got Raft in the movie Taxi. I guess Raft felt he owed him something.

[TomJH]

>Don't forget it was Cagney who got Raft into the movies.

 

That's true, Jim. Raft got a small but noteworthy part as a dance competitor in Taxi! through Cagney before Scarface made a star of the actor.

 

I'd say that by saving Jimmy from getting clocked on the head with a giant kleig light, George more than paid him back. Aside from that, however, the two guys simply got along well together. But then, the impression that I get is that most co-stars seemed to get along well with Raft, exceptions to that being, ironically, Bogie and Robinson.

[DownGoesFrazier]

Jack Dempsey made an appearance in REQUIEM FOR A HEAVYWEIGHT, in a scene which supposedly took place in Dempsey's NYC restaurant, which did exist.

[TomJH]

When it comes to the sport of boxing, while Bogart appeared in a strong indictment of the sport in The Harder They Fall (and a story that deserved to be told), it was James Cagney that actually played boxers on four occasions throughout his career.

 

*Winner Take All (1932)*

 

 

 

In training for his role with boxer Harvey Parry

 

From Cagney's hectic pre-code period, a fast and funny little drama, with Jimmy playing a pug nosed puglilist who's none too bright.

 

*The Irish in Us (1935)*

 

 

A light-hearted sentimental "Irish" comedy with Jimmy as a boxing promoter who winds up in the ring himself when his own fighter gets incapacitiated.

 

*City for Conquest (1940)*

 

 

An elaborate Warners adaption of Aben Kandel's novel, with Jimmy as a truck driver-turned-boxer who goes blind. A film remarkable for its strong cast, fluid camerawork, great sets, strong Max Steiner musical score and a wonderful Cagney performance. The occasional poetic pretentiousness of the screenplay and blatant sentimentality of a tear jerker ending are minor quibbles, I feel, for one of Jimmy's better films.

 

*Terrible Joe Moran (1984)*

 

 

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!

 

Cagney posing with former champ Floyd Patterson, who would attend at the actor's funeral two years later

 

Cagney's own physical infirmities at the time became a part of his characterization as a wheelchair bound former boxer and his relationship with his granddaughter. Cagney's final film, it incorporates clips of the actor from Winner Take All.

 

[TomJH]

Casablanca set stills. These photographs were taken prior to shooting in anticipation of lighting and design approval.

 

 

 

 

 

 

 

[DownGoesFrazier]

The only boxing film EGR appeared in was, I believe, KID GALAHAD.Bogart was also in the film.

 

Edited by: finance on Oct 21, 2013 9:26 AM

[mrroberts]

There has been so much written about *Casablanca* ;, the whole process of making the movie, the casting, the storyline being heavily revised while they were filming, creating the ending scenes at the last moment, etc. They were going to reshoot some scenes but Ingrid was not available (off to work on her next picture) so they had to settle for what they had done. I find it hard sometimes to separate fact from fiction. The "making of Casablanca" story has been so enhanced and exaggerated over the years. To me *Casablanca* is just another big studio "assembly line" movie where magically everything came together so well it became a masterpiece. Just like on the assembly line where several hundred cars roll off the line each day and one car just goes together perfectly. And it becomes an exceptional car. Somehow Humphrey Bogart just fit the role so well, as unlikely as that may have seemed at the time.

[TomJH]

I think it's safe to say that Casablanca is the most famous black-and-white film ever made. Even people who hate black and white features will probably be inclined to view this one, if only to see what all the fuss is about.

 

This Warner Brothers production, produced by Hal Wallis with the mercurial but brilliant Michael Curtiz at the directorial helm, received three Academy Awards, 1. Best Picture of 1943, 2. Best Director - Curtiz, 3. Writing (Best Written Screenplay) - Julius J. Epstein & Philip G. Epstein.

 

Wallis had played a crucial role throughout the making of the film. However, when the announcement for best picture was made at the Academy Awards ceremony, the producer was shocked to see studio boss Jack Warner (who had been involved very little during the film's production) rush onto the stage to accept the Oscar. That would eventually lead to Wallis' decision to leave WB and take his great talents over to Paramount.

 

Of the many pleasures that I derive from viewing the film, one of the chief joys is the dialogue from the Epstein brothers. No matter how many times I see Casablanca, I never tire of the often clever, witty one liners produced or those other lines that are just so much a part of the legend of this film. Here's a sample of just some of them:

 

*Rick*: Of all the gin joints in all the towns in all the world, she walks into mine.

 

*Rick*: Here's looking at you, kid.

 

*Yvonne*: Where were you last night?

*Rick*: That's so long ago, I don't remember..

*Yvonne*: Will I see you tonight?

*Rick*: I never make plans that far ahead.

 

*Renault*: How extravagant you are, throwing away women like that. Some day they may be scarce. You know, I think maybe I shall pay a call on Yvonne. Maybe get her on the rebound.

*Rick*: Well, when it comes to women, you are a true democrat.

 

*Renault*: I've often speculated on why you don't return to America. Did you abscond with the church funds? Did you run off with a senator's wife? I like to think that you killed a man. It's the romantic in me.

*Rick*: It's a combination of all three.

*Renault*: And what in heaven's name brought you to Casablanca?

**Rick*: My health. I came to Casablanca for the waters.*

*Reanult*: The waters? What waters? We're in the desert.

*Rick*: I was misinformed.

 

 

*Ilsa*: Play it once, Sam, for old times sake.

*Sam*: I don't know what you mean, Miss Ilsa.

*Ilsa*: Play it, Sam. Play "As Time Goes By."

 

*Rick*: What's that you're playing?

*Sam* (playing piano): Oh, just a little something of my own.

*Rick*: Well stop it. You know what I want to hear.

*Sam*: No, I don't.

*Rick*: You played it for her. You can play it for me.

*Sam*: Well, I don't think I can remember . . .

*Rick*: If she can stand it, I can. Play it!

 

 

*Ilsa*: Is that canon fire, or is that my heart pounding?

 

*Renault*: Karl, see that Major Strasser gets a good table, one close to the ladies.

*Karl*: I have already given him the best, knowing he is German and would take it anyway.

 

*Strasser*: Are you one of those people who cannot imagine the Germans in their beloved Paris?

*Rick*: It's not particularly my beloved Paris.

*Another German Officer*: Can you imagine us in London?

*Rick*: When you get there ask me.

 

*Strasser*: What is your nationality?

*Rick*: I'm a drunkard.

*Renault*: That makes Rick a citizen of the world.

 

*Rick*: Go ahead and shoot. You'll be doing me a favour.

 

*Renault*: Round up the usual suspects.

 

*Rick*: I stick my head out for nobody.

 

*Renault* (in closing's Rick's Cafe): I'm shocked, SHOCKED to find that gambling is going on in here.

*Croupier* (handing Renault money): Your winnings, sir.

*Renault*: Oh, thank you very much.

 

*Ferrari*: Hello, Rick.

*Rick*: Hello, Ferrari. How's business at the Blue Parrot?

*Ferrari*: Fine. But I'd like to buy your cafe.

*Rick*: It's not for sale.

*Ferrari*: You haven't heard of my offer.

*Rick*: It's not for sale at any price.

*Ferrari*: What do you want for Sam?

*Rick*: I don't buy or sell human beings.

*Ferrari*: Too bad. That's Casablanca's leading commodity.

 

 

*Ilsa*: What about us?

*Rick*: Well always have Paris.

 

*Rick*: Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy mixed up world.

 

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!

 

*Rick*: Louie, I think this is the beginning of a beautiful friendship.

 

And, finally, my favourite dialogue exchange in the film -

 

*Ugarte*: You despise me, don't you?

*Rick*: Well, if I gave you any thought, I probably would.

 

 

Finally, there is, I feel, a noteworthy continuity error at the beginning of Casablanca that I find amusing. It's at the end of a breathlessly paced short sequence, brilliantly edited, so most viewers have undoubtedly missed it.

 

For those with the DVD of Casablanca it occurs 3 min. 39 sec. into the film. It's at the end of the sequence in which there are a succession of fast edits as police are rounding up "suspicious" persons on the streets. There is a dialogue exchange at one moment between police and one suspect who suddenly bursts into a run trying to escape them.

 

There is a long range camera view of the man running as he is then shot in the back by police just as he reaches a wall, a wall which has a mural of a French army officer on it. The next edited image is a closer shot of that mural of the French officer as police leap upon the wounded man. Only now, leaning against that wall with the mural, is a young woman in Arab costume (a prostitute?) with an impassive expression upon her face. The only problem is that in the previous shot when you see the long range image of the same wall with the mural, that woman is nowhere to be seen.

[mrroberts]

Along with Ingrid Bergman looking absolutely sensational in this film is there any doubt that Claude Rains almost steals the picture. His character is so much fun to watch, the interaction between him and Bogart is top notch.

[TomJH]

mrroberts, we are in total agreement. If anyone ever personified debonair charm and sardonic humour it would be Claude Rains as Louis Renault. For me, if there was only one Rains performance to be placed in a time capsule, this one is it.

 

As a matter of fact, since Rains' portrayal is in Casablanca, it is in a celluloid time capsule. What great luck for Claude Rains that what is arguably his greatest performance is contained in his most popular movie.

[ding19410922]

HE IS the most dynamic presence in 'Casablanca' - bar none, and Conrad Veidt in Rick's bar with the caviar and the dossier on Blaine comes in a close second.

 

Rains also dominates everything in the 1946 'Deception' as Davis' composer mentor and paramour, The wide gambit of emotions he brings forth is marvelous. All that great work, when he, Davis, and Henried all knew the Hays office would force them to put an ending on the film that was just ludicrous.

[TomJH]

Well, hermanding, I think Bogart is pretty dynamic in the film, too.

 

I love the interplay between Bogart and Rains in Casablanca. Many of the best scenes in the film are when these two actors share the screen. They have an extraordinary chemistry, the obvious affection their characters feel for one another seeming so real, so that at the film's end, when Rick and Louie both come over to the Allied side together, I suspect that a first time audience will feel like cheering.

 

And, yes, it would also be the beginning of a beautiful friendship.

 

 

 

 

 

 

[DownGoesFrazier]

Rains managed to "steal" many of the films he was in.

[mrroberts]

Since we are currently in a Bogart mode (I like the idea of jumping back and forth with these 3 great actors) I want to bring up the much unknown, underappreciated Bogart film *Conflict* from 1945. I first saw this film only a few years ago on TCM and found it fascinating. Here was Bogart doing his usual routine of the slow mental breakdown (like his Duke Mantee role in *The Petrified Forest* ) and as always he is great at it. That seems to be Bogart at his best , in my opinion. He does it in "In a Lonely Place", "Treasure of the Sierra Madre", "The Two Mrs Carrolls", "The Caine Mutiny" , "The Desperate Hours", etc. Back to *Conflict* , Bogart starts as a sane rational man who plans and then pulls off a seemingly perfect crime, murdering his wife and creating a fool proof alibi. But when he believes that he is seeing his now dead wife still walking around he slowly goes into the mental breakdown. In the end he reveals himself as the guilty party. Ironically Sidney Greenstreet plays the "good" guy in this film. But its all about Bogart and his character being unable to fight off his guilty conscience. I highly recommend this film for future viewing.

[TomJH]

I find it interesting that after all those years of Bogart toiling in the supporting mug doldrums at Warners, finally achieving stardom in 1941, that stardom confirmed even moreso with the release of Casablanca soon afterward, that the actor in Bogie was eager to experiment with his screen persona as soon as he did - in 1945, a mere three years after playing Rick Blaine.

 

That's when he played a pair of wife murderers in Conflict and The Two Mrs. Carrolls (the latter film being held up for release by Warners for two years). I have always found Bogie to be embarassingly bad, almost laughably so, in Carrolls.

 

Conflict, fortunately, is not the same kind of over-the-top melodramatic brew. It's a fairly intriguing mystery, in whch we're never quite certain if Sydney Greenstreet is playing cat-and-mouse games with perfect crime murderer Bogart, or not. Or is Bogie starting to lose his mind?

 

Bogart's quite good in his role, I think, and Greenstreet's fun to watch, even if he isn't up to dastardly deeds. Conflict, because the actor's role in the film is so "un-Bogartian," will never be the fan favourite that a Casablanca or To Have and Have Not will always be. The film is definitely worth a viewing, though, for one of Bogart's earliest experimentations with his newly created screen image.

 

If The Two Mrs. Carrolls was one of the actor's few mis-steps during his prime years, Conflict was, at the least, a middling success, in my opinion. His wife murdering days were over with these two films, though 1950's In a Lonely Place, with one of Bogart's greatest performances, I think, still made you feel that having a relationship with this guy might not be the healthiest thing for a woman to do.

[TomJH]

The third and final time that James Cagney and Humphrey Bogart worked together was in one of the most elaborate gangster sagas of the period, *The Roaring Twenties*, in 1939.

 

Raoul Walsh directed this sentimental portrait of the prohibition era, the first of four profitable and artistically rewarding occasions in which he would work with Cagney (including Strawberry Blonde and White Heat) and the first of two with Bogart (the other being High Sierra).

 

While Cagney was unquestionably the film's star, Bogart scored with the best of his three roles in support of him. He played a nasty, back stabbing hood, with an effectively sardonic sense of humour.

 

Early WWI battle scenes, set in a foxhole and the remnants of a shelled building, have Bogart and Cagney first meeting one another, as well as a third character, played by Jeffrey Lynn. Lynn is established early as a decent, sensitive person, in marked contrast to that of hard hearted Bogart.

 

At one point Bogart aims his rifle and fires at an enemy.

 

He beams afterward, "That sucker jumped three feet in the air and came down as straight as a board."

 

A moment later Lynn gets the sight of his rifle on a German but holds off from firing, commenting that his target looks like a 15-year-old kid. Bogart then takes aim and fires.

 

"He won't be 16," Bogie says with immense satisfaction.

 

Later in the film there's a marvelous scene set in a speakeasy owned by Cagney. All of the principal characters are gathered at a table, Cagney, Bogart, Lynn, Cagney pal Frank McHugh and Gladys George as speakeasy hostess Panama Smith. By this point in the story they are established as gangsters, profiting from the bootleg business.

 

Many the best lines of dialogue in this scene go to Bogart.

 

After Cagney refers to buying a line of cabs as something to fall back on in his old age, Bogie responds, "In this business you shouldn't worry about your old age."

 

A moment later McHugh rises from the table, announcing that he's going to try to get a dance.

 

"Yeah, that'll be a break for some dame," Bogart calls out.

 

The scene draws to a close with Cagney leaving the table, making reference to the fact that he trusts his friends.

 

Bogart turns to Gladys George, saying, "You know, he's a sucker. I don't trust mine."

 

"The feeling's mutual, chum," George replies, "They don't trust you either."

 

Yes, George gets the final topper. Aside from its strong cast and handsome production values, one of the pleasures of The Roaring Twenties with its somewhat predictable story line is the occasional sharp dialogue exchange.

 

SPOILER ALERT ABOUT THE ENDING:

 

And it's Gladys George that also gets the final and most memorable line of dialogue in the film.

 

Cagney's character is established as washed up but he gets gunned down by rival gangsters, dying on some church steps. George runs to him, cradling his head in her hands. A cop arrives, inquiring as to Cagney's identification.

 

George seems to put a lifetime of grief into the film's final line of dialogue:

 

"He used to be a big shot," she says as the music swells, the camera pulls back from them and the words The End appear on screen.

 

Director Walsh was once asked in reference to the ending why, after Cagney gets shot several times, still stumbling on for half a block before finally collapsing on the steps of a church, it took him so long to die.

 

"He's an actor," Walsh replied.

 

 

 

 

 

 

[mrroberts]

I notice that the 3 times that James Cagney and Humphrey Bogart worked together happened over a short period of time, about 1 year. Bogart had been at Warners for several years and had worked with Edward G and most of the other Warners' stars but it took some time before he was cast with Cagney, wonder why? In spite of whatever personal differences they may have had they did work well together. Bogart made a formidable opponent for Cagney, which was no easy task. Cagney's screen persona could easily dominate his adversary so casting Bogart (and giving his character some presence) made for a good show. Of course both men look way out of place in "The Oklahoma Kid" .

[DownGoesFrazier]

You make it sound as if Bogart had free rein in playing whatever type of roles he wanted. Didn't Jack Warner et al have some say in the matter?

[TomJH]

Yes, mrroberts, The Oklahoma Kid is a western that no one has ever taken seriously. Aside from its banal script, both Cagney and Bogie do seem terribly miscast in western attire. Cagney would later complain about the fancy outfit he wore, Bogart once commenting, in looking at Jimmy in his wide brimmed cowboy hat, that he looked like a mushroom.

 

However, keep in mind that Cagney was a man who loved country living (he had already purchased some property by this time at Martha's Vineyard) and he had a passionate love for all horses, particularly Morgans. And, to be fair, as much as people laugh at the idea of city boy Cagney as a cowboy, if you watch this film, I think you may agree that his horsemanship in the film is pretty impressive.

 

 

Cagney called The Oklahoma Kid a programmer, and had this to say about his co-star in it:

 

"Bogie played a heavy in it, doing his usual expert job. By this time in his career he'd become entirely disillusioned with the picture business. Endlessly the studio required him to show up without his even knowing what the script was, what his dialogue was, what the picture was about. On top of this he would be doing two or three pictures at a time. That's how much they appreciated him.

 

He came into the makeup department one morning and I said 'What is it today, Bogie?' 'Oh, I don't know,' he said, 'I was to go over to Stage 12.' There he was fulfilling his contract, doing as required, however much against his will. We shared the same attitude: when there's a job to be done, you do it. New acting talent would come along, and the studio's idea of building them up was simply to throw them into one picture after another as quickly as possible. In this sink-or-swim situation the ones who survived were the ones with natural durability. Bogie had that kind of durability. Albeit he was a tremendous personality, the studio didn't do anything about him until fortuitous circumstances put him opposite Ingrid Bergman in Casablanca, and away went Bogie. Sheer accident. The studio had no thought of using him to the fullest, indeed of using anyone to the fullest bent of their talent. The policy toward talent was simplistic: just throw them in, then throw them out. Talent was not nurtured, it was simply consumed."

 

And Cagney himself may have also have had the same long hard road to stardom that Bogart had if it was not for his own fortuitous circumstances when he and co-star Edward Woods reversed their scheduled roles in The Public Enemy (director Bill Wellman claiming credit for this). Cagney suddenly got the lead in the film and the rest, as they say, is history.

 

 

Cagney taking a break between Oklahoma Kid takes