Lauren Bacall
Bacall in the 1940s
Born	Betty Joan Perske (1924-09-16) September 16, 1924 (age 87) The Bronx, New York, U.S.[1]
Occupation	Actress
Years active	1942–present
Spouse	Humphrey Bogart (m.1945-1957; his death) Jason Robards (m.1961-1969; divorced)
Children	Stephen Bogart Leslie Bogart Sam Robards
Relatives	Shimon Peres (first cousin)
Signature

Lauren Bacall ( /ˌlɔrən bəˈkɔːl/; born Betty Joan Perske, September 16, 1924) is an American film and stage actress and model, known for her distinctive husky voice and sultry looks.

She first emerged as leading lady in the Humphrey Bogart film To Have And Have Not (1944) and continued on in the film noir genre, with appearances in Bogart movies The Big Sleep (1946) and Dark Passage (1947), as well as a comedienne in How to Marry a Millionaire (1953) with Marilyn Monroe and Designing Woman (1957) with Gregory Peck. Bacall has also worked on Broadway in musicals, gaining Tony Awards for Applause in 1970 and Woman of the Year in 1981. Her performance in the movie The Mirror Has Two Faces (1996) earned her a Golden Globe Award and an Academy Award nomination.

In 1999, Bacall was ranked #20 of the 25 actresses on the AFI's 100 Years... 100 Stars list by the American Film Institute. In 2009, she was selected by the Academy of Motion Picture Arts and Sciences to receive an Academy Honorary Award "in recognition of her central place in the Golden Age of motion pictures."

Early life[link]

Born Betty Joan Perske in New York City, she was the only child of Natalie Weinstein-Bacal, a secretary who later legally changed her surname to Bacall, and William Perske, who worked in sales.^[2] Bacall's parents were Jewish immigrants, from Poland and Romania, who emigrated through Ellis Island.^[3] She is first cousin to Shimon Peres, current President and former Prime Minister of Israel.^[4][5] Her parents divorced when she was five, and she took the Romanian form of her mother's last name, Bacall.^[6] Bacall no longer saw her father and formed a close bond with her mother, whom she took with her to California when she became a movie star.^[7][8]

Career[link]

Howard Hawks and Bacall in 1943

Bacall took lessons at the American Academy of Dramatic Arts. During this time, she became a theatre usher and worked as a fashion model. As Betty Bacall, she made her acting debut, at age 17, on Broadway in 1942, as a walk-on in Johnny 2 X 4. According to her autobiography, she met her idol Bette Davis at Davis' hotel. Years later, Davis visited Bacall backstage to congratulate her on her performance in Applause, a musical based on Davis' turn in All About Eve.

Bacall became a part-time fashion model. Howard Hawks' wife Nancy spotted her on the March 1943 cover of Harper's Bazaar and urged Hawks to have her take a screen test for To Have and Have Not. Hawks invited her to Hollywood for the audition. He signed her up to a seven-year personal contract, brought her to Hollywood, gave her $100 a week, and began to manage her career. Hawks changed her name to Lauren Bacall. Nancy Hawks took Bacall under her wing.^[9] She dressed the newcomer stylishly, and guided her in matters of elegance, manners and taste. Bacall's voice was trained to be lower, more masculine and sexier, which resulted in one of the most distinctive voices in Hollywood.^[10] In the movie, Bacall takes on Nancy's nickname “Slim.”

Breakthrough[link]

Bacall in her first film, To Have and Have Not; Hoagy Carmichael is in the background playing piano

During screen tests for To Have and Have Not (1944), Bacall was nervous. To minimize her quivering, she pressed her chin against her chest and to face the camera, tilted her eyes upward. This effect became known as "The Look", Bacall's trademark.^[11]

Bacall and Bogart in Dark Passage

On the set, Humphrey Bogart, who was married to Mayo Methot, initiated a relationship with Bacall some weeks into shooting and they began seeing each other.

On a visit to the National Press Club in Washington, D.C. on February 10, 1945, Bacall's press agent, chief of publicity at Warner Bros. Charlie Enfield, asked the 20-year-old Bacall to sit on the piano which was being played by Vice-President of the United States Harry S. Truman. The photos caused controversy and made worldwide headlines.

After To Have and Have Not, Bacall was seen opposite Charles Boyer in the critically panned Confidential Agent (1945).^[12] Bacall would state in her autobiography that her career never fully recovered from this film, and that studio boss Jack Warner did not care about quality. She then appeared with Bogart in the films noir The Big Sleep (1946) and Dark Passage (1947) and John Huston's melodramatic suspense film Key Largo (1948) with Bogart and Edward G. Robinson. She was cast with Gary Cooper in the period drama Bright Leaf (1950).

1950s[link]

Marilyn Monroe, Betty Grable, and Bacall

Bacall turned down scripts she did not find interesting and thereby earned a reputation for being difficult. Yet, for her leads in a string of films, she received favorable reviews. In Young Man with a Horn (1950), co-starring Kirk Douglas, Doris Day, and Hoagy Carmichael, Bacall played a two-faced femme fatale. This movie is often considered the first big-budget jazz film.^[13] During 1951-52, Bacall co-starred with Bogart in the syndicated action-adventure radio series Bold Venture.

Bacall starred in the CinemaScope comedy How to Marry a Millionaire (1953), a runaway hit that saw her teaming up with Marilyn Monroe and Betty Grable.^[14] Billed third under Monroe and Grable, Bacall got positive notices for her turn as the witty gold-digger, Schatze Page.^[15] According to her autobiography, Bacall refused the coveted invitation from Grauman's Chinese Theatre to press her hand- and footprints in the theatre's cemented forecourt at the Los Angeles premiere of the film.

1955 live television version of The Petrified Forest with Lauren Bacall, Humphrey Bogart, and Henry Fonda on the anthology series Producer's Showcase, a remake of Bogart's original 1936 breakthrough film.

In 1955, a live television version of Bogart's own breakthrough, The Petrified Forest, was performed as a live installment of Producer's Showcase, a weekly dramatic anthology, featuring Bogart (now top-billed) as Duke Mantee, Henry Fonda as Alan, and Bacall as Gabrielle, the part originally played in the 1936 movie by Bette Davis. Jack Klugman, Richard Jaeckel, and Jack Warden played supporting roles. Bogart had no problem performing his role live since he had originally played the part on Broadway with the subsequent movie's star Leslie Howard, who had secured a film career for Bogart by insisting that Warner Bros. cast him in the movie instead of Edward G. Robinson; Bogart and Bacall named their daughter "Leslie Howard Bogart" in gratitude. In the late 1990s, Bacall donated the only known kinescope of the 1955 performance to The Museum Of Television & Radio (now the Paley Center for Media), where it remains archived for viewing in New York City and Los Angeles.

Written on the Wind, directed by Douglas Sirk in 1956, is now considered a classic tear-jerker.^[16] Appearing with Rock Hudson, Dorothy Malone and Robert Stack, Bacall played a determined woman. Bacall states in her autobiography that she did not think much of the role. While struggling at home with Bogart's severe illness (cancer of the esophagus), Bacall starred with Gregory Peck in the screwball comedy Designing Woman and gained rave reviews.^[17] It was directed by Vincente Minnelli and released in New York City on May 16, 1957, four months after Bogart succumbed to cancer on January 14.

1960s and 1970s[link]

Bacall's movie career waned in the 1960s, and she was only seen in a handful of films. On Broadway she starred in Goodbye, Charlie (1959), Cactus Flower (1965), Applause (1970) and Woman of the Year (1981). She won Tony Awards for her performances in the latter two. The few movies Bacall shot during this period were all-star vehicles such as Sex and the Single Girl (1964) with Henry Fonda, Tony Curtis and Natalie Wood, Harper (1966) with Paul Newman, Shelley Winters, Julie Harris, Robert Wagner and Janet Leigh, and Murder on the Orient Express (1974), with Ingrid Bergman, Albert Finney and Sean Connery. In 1964, she appeared in two acclaimed episodes of Craig Stevens's CBS drama, Mr. Broadway: first in "Take a Walk Through a Cemetery", with then husband Jason Robards, Jr. and Jill St. John, and then as Barbara Lake in "Something to Sing About", with Martin Balsam as Nate Bannerman.

For her work in the Chicago theatre, Bacall won the Sarah Siddons Award in 1972 and again in 1984. In 1976, she co-starred with John Wayne in his last picture, The Shootist. The two became friends, despite significant political differences between them. They had previously been cast together in 1955's Blood Alley.

Later career[link]

During the 1980s and early 1990s, Bacall appeared in the poorly received star vehicle The Fan (1981), as well as some star-studded features such as Robert Altman's Health (1980), Michael Winner's Appointment with Death (1988), and Rob Reiner's Misery (1990). In 1997, Bacall was nominated for a Best Supporting Actress Academy Award for her role in The Mirror Has Two Faces (1996), her first nomination after a career span of more than fifty years. She had already won a Golden Globe and was widely expected to win the Oscar, which went to Juliette Binoche for The English Patient.

Bacall received the Kennedy Center Honors in 1997. In 1999, she was voted one of the 25 most significant female movie stars in history by the American Film Institute. Since then, her movie career has seen a new renaissance and she has attracted respectful notices for her performances in high-profile projects such as Dogville (2003) and Birth (2004), both with Nicole Kidman. She is one of the leading actors in Paul Schrader's 2007 movie The Walker.

In March 2006, Bacall was seen at the 78th Annual Academy Awards introducing a film montage dedicated to film noir. She also made a cameo appearance as herself on The Sopranos, in the April 2006 episode, "Luxury Lounge", during which she was punched and robbed by a masked hoodlum played by Michael Imperioli.

In September 2006, Bacall was awarded the first Katharine Hepburn Medal, which recognizes "women whose lives, work and contributions embody the intelligence, drive and independence of the four-time-Oscar-winning actress", by Bryn Mawr College's Katharine Houghton Hepburn Center.^[18] She gave an address at the memorial service of Arthur M. Schlesinger, Jr at the Reform Club in London in June 2007.

Bacall is the spokesperson for the Tuesday Morning discount chain. Commercials show her in a limousine waiting for the store to open at the beginning of one of their sales events. She is currently producing a jewelry line with the company, Weinman Brothers. She previously was a celebrity spokesperson for High Point (coffee) and Fancy Feast cat food.

Bacall was selected by the Academy of Motion Picture Arts and Sciences to receive an Honorary Academy Award. The award was presented at the inaugural Governors Awards on November 14, 2009.^[19]

Personal life[link]

Lauren Bacall (1989)

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Relationships and family[link]

On May 21, 1945, Bacall married Humphrey Bogart. Their wedding and honeymoon took place at Malabar Farm, Lucas, Ohio. It was the country home of Pulitzer Prize-winning author Louis Bromfield, a close friend of Bogart. The wedding was held in the Big House. Bacall was 20 and Bogart was 45. They remained married until Bogart's death from esophageal cancer in 1957. Bogart usually called Bacall "Baby," even when referring to her in conversations with other people. During the filming of The African Queen (1951), Bacall and Bogart became friends of Bogart's co-star Katharine Hepburn and her partner Spencer Tracy. Bacall also began to mix in non-acting circles, becoming friends with the historian Arthur Schlesinger, Jr. and the journalist Alistair Cooke. In 1952, she gave campaign speeches for Democratic Presidential contender Adlai Stevenson. Along with other Hollywood figures, Bacall was a staunch opponent of McCarthyism.

Shortly after Bogart's death in 1957, Bacall had a relationship with singer and actor Frank Sinatra. She told Robert Osborne, of Turner Classic Movies (TCM), in an interview, that she had ended the romance. However, in her autobiography, she wrote that Sinatra abruptly ended the relationship, having become angry that the story of his proposal to Bacall had reached the press. Bacall and her friend Swifty Lazar had run into the gossip columnist Louella Parsons, to whom Lazar had spilled the beans. Sinatra then cut Bacall off and went to Las Vegas.

Bacall was married to actor Jason Robards, Jr., who resembled Bogart in various ways, from 1961 to 1969. According to Bacall's autobiography, she divorced Robards mainly because of his alcoholism. In her autobiography Now, she recalls having a relationship with Len Cariou, her co-star in Applause.

Bacall had a son and daughter with Bogart and a son with Robards. Her children with Bogart are her son Stephen Humphrey Bogart (born January 6, 1949), a news producer, documentary film maker and author; and her daughter Leslie Bogart (born August 23, 1952), a yoga instructor. Sam Robards (born December 16, 1961), her son with Robards, is an actor.

Bacall has written two autobiographies, Lauren Bacall By Myself (1978) and Now (1994). In 2005, the first volume was updated with an extra chapter: "By Myself and Then Some".

Political views[link]

Bacall sits atop the piano while Vice President Harry S Truman plays the piano at the National Press Club Canteen. (February 10, 1945)

Bacall is a staunch liberal Democrat. She has proclaimed her political views on numerous occasions.

In October 1947, Bacall and Bogart traveled to Washington, D.C., along with other Hollywood stars, in a group that called itself the Committee for the First Amendment (CFA). She subsequently appeared alongside Humphrey Bogart in a photograph printed at the end of an article he wrote, titled "I'm No Communist", in the May 1948 edition of Photoplay magazine,^[20] written to counteract negative publicity resulting from his appearance before the House Un-American Activities Committee. Bogart and Bacall specifically distanced themselves from the Hollywood Ten and were quoted as saying: "We're about as much in favor of Communism as J. Edgar Hoover."

She campaigned for Democratic candidate Adlai Stevenson in the 1952 Presidential election and for Robert Kennedy in his 1964 run for Senate.

In a 2005 interview with Larry King, Bacall described herself as "anti-Republican... A liberal. The L-word." She went on to say that "being a liberal is the best thing on earth you can be. You are welcoming to everyone when you're a liberal. You do not have a small mind."^[21]

Dramatization[link]

• In 1980, Kathryn Harrold played Bacall in the TV movie Bogie, which was directed by Vincent Sherman and based on the novel by Joe Hymans. Kevin O'Connor played Bogart. The movie focused primarily upon the disintegration of Bogart's third marriage to Mayo Methot, played by Ann Wedgeworth, when Bogart met Bacall and began an affair with her.

In popular culture[link]

In music[link]

This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (March 2012)

• Bacall is referenced in the song, "Rainbow High", from the musical Evita by Andrew Lloyd Webber and Tim Rice
• Bacall is referenced in the song "Car Jamming" by 1970s punk band The Clash.
• Bacall and Bogart are referenced in the song "Key Largo" by Bertie Higgins.
• She is also referenced in the song "Freeze Tag" by Suzanne Vega.
• She is referenced in the song "Mersey" by Pavlov's Dog
• She is referenced in Madonna's "Vogue".
• She is referenced in the song "Captain Crash & The Beauty Queen From Mars" by Bon Jovi
• She is referenced in the song "I Want It All" from the musical Baby by Maltby & Shire
• Bacall, along with Bogart, is referenced in the song "Words" by Anna Nalick

In cartoons[link]

This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (March 2012)

• In the last scene of the 1947 Warner Bros. cartoon Slick Hare, a caricature of Bacall is shown sitting at a dinner table as Bugs Bunny "wolf whistles" at her.
• Bacall and Bogart both appear in the Looney Tunes cartoon 'Bacall To Arms'.

Work[link]

Filmography[link]

Features[link]

Short subjects[link]

• 1955 Motion Picture Theatre Celebration (1955)
• Amália Traída (Amália Betrayed) (2004)

Selected stage appearances[link]

• Johnny 2 x 4 (1942)
• Goodbye Charlie (1959)
• Cactus Flower (1965)
• Applause (1970)
• V.I.P. Night on Broadway (1979) (benefit concert)
• Woman of the Year (1981)
• Angela Lansbury: A Celebration (1996) (benefit concert)
• Waiting in the Wings (1999)

Television work[link]

• What's My Line (1953)
• The Petrified Forest on Producers' Showcase (1956)
• Ford Star Jubilee (1956, 1 episode)
• Applause (1973)
• Perfect Gentlemen (1978)
• Lions, Tigers, Monkeys and Dogs (Rockford Files) (1979)
• Dinner at Eight (1989)
• A Little Piece of Sunshine (1990)
• The Portrait (1993)
• The Parallax Garden (1993)
• It's All in the Game (Columbo) (1993)
• From the Mixed-Up Files of Mrs. Basil E. Frankweiler (1995)
• 6th PBS ident (1996) as announcer
• 7th PBS ident (1998) as announcer; older woman in red shirt
• Too Rich: The Secret Life of Doris Duke (1999)
• The Sopranos (2006)
• Wonder Pets (2009) special guest voice^[22]

Radio[link]

• Bold Venture (1951–52); with Humphrey Bogart. Exact number of episodes recorded is unknown, but upwards of 50.

Books[link]

• By Myself (1978)
• Now (1994)
• By Myself and Then Some (2005)

Awards and nominations[link]

• 1970 Tony Award for Best Leading Actress in a Musical – Applause
• 1972 Sarah Siddons Award
• 1980 National Book Award in the one-year category Autobiography^{[23][lower-alpha 1]}
• 1981 Tony Award for Best Leading Actress in a Musical – Woman of the Year
• 1984 Sarah Siddons Award
• 1990 George Eastman Award (given by George Eastman House)^[24]
• 1992 Premio Donostia [Honorary Award]
• 1993 Golden Globe Cecil B. DeMille Award
• 1997 Berlin International Film Festival - Berlinale Camera^[25]
• 1997 Screen Actors Guild Award for Best Actress in a Supporting Role – The Mirror Has Two Faces
• 1997 Golden Globe Award for Best Actress in a Supporting Role – The Mirror Has Two Faces
• 1997 Kennedy Center Honors
• 2000 Stockholm Film Festival Lifetime Achievement Award
• 2007 Norwegian International Film Festival Lifetime Achievement Award
• 2008 Bette Davis Medal of Honor (from the Bette Davis Foundation)^[26]
• 2009 Academy Honorary Award

Nominations

• 1977 BAFTA Award for Best Actress in a Leading Role – The Shootist
• 1997 BAFTA Award for Best Actress in a Supporting Role – The Mirror Has Two Faces
• 1997 Academy Award for Best Actress in a Supporting Role – The Mirror Has Two Faces

Bacall has a star on the Hollywood Walk of Fame at 1724 Vine Street.

See also[link]

• Humphrey Bogart: the Bogart and Bacall section
• Bogart-Bacall syndrome

Notes[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Lauren Bacall

Wikiquote has a collection of quotations related to: Lauren Bacall

• Lauren Bacall at the Internet Movie Database
• Lauren Bacall at the TCM Movie Database
• Lauren Bacall at the Internet Broadway Database
• Lauren Bacall at AllRovi
• Works by or about Lauren Bacall in libraries (WorldCat catalog)
• Interview with Larry King on CNN
• Article about the "origin" of the "Rat Pack" taken mainly from her book "Lauren Bacall, By Myself", (New York: Knopf, 1978)
• Literature on Lauren Bacall

Humphrey Bogart
Bogart in 1946, in a photograph by Yousuf Karsh
Born	Humphrey DeForest Bogart (1899-12-25)December 25, 1899 New York City, New York, U.S.
Died	January 14, 1957(1957-01-14) (aged 57) Los Angeles, California, U.S.
Cause of death	Esophageal cancer
Resting place	Forest Lawn Memorial Park, Glendale, California
Education	Trinity School
Alma mater	Phillips Academy
Occupation	Actor
Years active	1921–1956
Spouse	Helen Menken (m.1926-1927; divorced) Mary Philips (m.1928-1937; divorced) Mayo Methot (m.1938-1945; divorced) Lauren Bacall (m.1945-1957; his death)
Children	Stephen Humphrey Bogart (born 1949) Leslie Howard Bogart (born 1952)
Parents	Dr. Belmont DeForest Bogart, Maud Humphrey
Website
http://www.humphreybogart.com/

Humphrey DeForest Bogart (December 25, 1899 – January 14, 1957)^[1][2] was an American actor.^[3] He is widely regarded as a cultural icon.^[4][5] The American Film Institute ranked Bogart as the greatest male star in the history of American cinema.

After trying various jobs, Bogart began acting in 1921 and became a regular in Broadway productions in the 1920s and 1930s. When the stock market crash of 1929 reduced the demand for plays, Bogart turned to film. His first great success was as Duke Mantee in The Petrified Forest (1936), and this led to a period of typecasting as a gangster with films such as Angels with Dirty Faces (1938) and B-movies like The Return of Doctor X (1939).

Bogart's breakthrough as a leading man came in 1941, with High Sierra and The Maltese Falcon. The next year, his performance in Casablanca raised him to the peak of his profession and, at the same time, cemented his trademark film persona, that of the hard-boiled cynic who ultimately shows his noble side. Other successes followed, including To Have and Have Not (1944); The Big Sleep (1946); Dark Passage (1947) and Key Largo (1948), with his wife Lauren Bacall; The Treasure of the Sierra Madre (1948); In a Lonely Place (1950); The African Queen (1951), for which he won his only Academy Award; Sabrina (1954); and The Caine Mutiny (1954). His last movie was The Harder They Fall (1956). During a film career of almost thirty years, he appeared in 75 feature films.

Early life[link]

Bogart was born on Christmas Day, 1899 in New York City, the eldest child of Dr. Belmont DeForest Bogart (July 1867, Watkins Glen, New York – September 8, 1934, Tudor City apartments, New York City) and Maud Humphrey (1868–1940). Belmont and Maud married in June 1898. The name “Bogart” comes from the Dutch surname “Bogaert”. It is derived from the word “bogaard”, a short name for “boomgaard”, which means “orchard”.^[6] Bogart's father was a Presbyterian of English and Dutch descent; his mother was an Episcopalian of English descent. Bogart was raised in the Episcopalian faith, but gave up his belief in God and was an atheist since the age of eight.^[7]

Bogart's birthday has been a subject of controversy; according to Warner Bros, he was born on Christmas Day, 1899. Others believe that this was a fiction created by the studio to romanticize their star, and that he was actually born on January 23, 1899. However, this story is now considered baseless: although no birth certificate has ever been found, his birth notice did appear in a New York newspaper in early January 1900, which supports the December 1899 date, as do other sources, such as the 1900 census.^{[N 1]}

Bogart's father, Belmont, was a cardiopulmonary surgeon. His mother, Maud Humphrey, was a commercial illustrator, who received her art training in New York and France, including study with James McNeill Whistler, and who later became artistic director of the fashion magazine The Delineator. She was a militant suffragette.^[9] She used a drawing of baby Humphrey in a well-known ad campaign for Mellins Baby Food.^[10] In her prime, she made over $50,000 a year, then a vast sum, far more than her husband's $20,000 per year.^[11] The Bogarts lived in a fashionable Upper West Side apartment, and had an elegant cottage on a fifty-five acre estate in upstate New York on Canandaigua Lake. As a youngster, Humphrey's gang of friends at the lake would put on theatricals.^[12]

Humphrey was the oldest of three children; he had two younger sisters, Frances and Catherine Elizabeth (Kay).^[10] His parents were very formal, busy in their careers, and frequently fought—resulting in little emotion directed at the children, "I was brought up very unsentimentally but very straightforwardly. A kiss, in our family, was an event. Our mother and father didn't glug over my two sisters and me."^[13] As a boy, Bogart was teased for his curls, his tidiness, the "cute" pictures his mother had him pose for, the Little Lord Fauntleroy clothes she dressed him in—and the name "Humphrey."^[14] From his father, Bogart inherited a tendency for needling people, a fondness for fishing, a life-long love of boating, and an attraction to strong-willed women.^[15]

The Bogarts sent their son to private schools. Bogart began school at the Delancey School until fifth grade, when he was enrolled in Trinity School.^[16] He was an indifferent, sullen student who showed no interest in after-school activities.^[17] Later he went to the prestigious preparatory school Phillips Academy, in Andover, Massachusetts, where he was admitted based on family connections.^[18] They hoped he would go on to Yale, but in 1918, Bogart was expelled.^[19] The details of his expulsion are disputed: one story claims that he was expelled for throwing the headmaster (alternatively, a groundskeeper) into Rabbit Pond, a man-made lake on campus. Another cites smoking and drinking, combined with poor academic performance and possibly some inappropriate comments made to the staff. It has also been said that he was actually withdrawn from the school by his father for failing to improve his academics, as opposed to expulsion. In any case, his parents were deeply dismayed by the events and their failed plans for his future.^[20]

Navy[link]

With no viable career options, Bogart followed his love for the sea and enlisted in the United States Navy in the spring of 1918. He recalled later, "At eighteen, war was great stuff. Paris! French girls! Hot damn!"^[21] Bogart is recorded as a model sailor who spent most of his months in the Navy after the Armistice was signed, ferrying troops back from Europe.^[22]

It was during his naval stint that Bogart may have gotten his trademark scar and developed his characteristic lisp, though the actual circumstances are unclear. In one account, during a shelling of his ship the USS Leviathan, his lip was cut by a piece of shrapnel, although some claim Bogart did not make it to sea until after the Armistice with Germany was signed. Another version, which Bogart's long time friend, author Nathaniel Benchley, claims is the truth, is that Bogart was injured while on assignment to take a naval prisoner to Portsmouth Naval Prison in Kittery, Maine. Supposedly, while changing trains in Boston, the handcuffed prisoner asked Bogart for a cigarette and while Bogart looked for a match, the prisoner raised his hands, smashed Bogart across the mouth with his cuffs, cutting Bogart's lip, and fled. The prisoner was eventually taken to Portsmouth. An alternate explanation is in the process of uncuffing an inmate, Bogart was struck in the mouth when the inmate wielded one open, uncuffed bracelet while the other side was still on his wrist.^[23]

By the time Bogart was treated by a doctor, the scar had already formed. "Goddamn doctor," Bogart later told David Niven, "instead of stitching it up, he screwed it up." Niven says that when he asked Bogart about his scar he said it was caused by a childhood accident; Niven claims the stories that Bogart got the scar during wartime were made up by the studios to inject glamour. His post-service physical makes no mention of the lip scar even though it mentions many smaller scars, so the actual cause may have come later.^[22] When actress Louise Brooks met Bogart in 1924, he had some scarred tissue on his upper lip, which Belmont Bogart may have partially repaired before Bogart went into films in 1930.^[20] She believes his scar had nothing to do with his distinctive speech pattern, his "lip wound gave him no speech impediment, either before or after it was mended. Over the years, Bogart practiced all kinds of lip gymnastics, accompanied by nasal tones, snarls, lisps and slurs. His painful wince, his leer, his fiendish grin were the most accomplished ever seen on film."^[24]

Early career[link]

Bogart returned home to find his father was suffering from poor health (perhaps aggravated by morphine addiction), his medical practice was faltering, and he lost much of the family's money on bad investments in timber.^[25] During his naval days, Bogart's character and values developed independent of family influence, and he began to rebel somewhat against their values. He came to be a liberal who hated pretensions, phonies, and snobs, and at times he defied conventional behavior and authority, traits he displayed in life and in his movies. On the other hand, he retained their traits of good manners, articulateness, punctuality, modesty, and a dislike of being touched.^[26] After his naval service, Bogart worked as a shipper and then bond salesman.^[27] He joined the Naval Reserve.

Bogart resumed his friendship with boyhood pal Bill Brady, Jr. whose father had show business connections, and eventually Bogart got an office job working for William A. Brady Sr.'s new company World Films.^[28] Bogart got to try his hand at screenwriting, directing, and production, but excelled at none. For a while, he was stage manager for Brady's daughter's play A Ruined Lady. A few months later, in 1921, Bogart made his stage debut in Drifting as a Japanese butler in another Alice Brady play, nervously speaking one line of dialog. Several more appearances followed in her subsequent plays.^[29] Bogart liked the late hours actors kept, and enjoyed the attention an actor got on stage. He stated, "I was born to be indolent and this was the softest of rackets".^[27] He spent a lot of his free time in speakeasies and became a heavy drinker. A barroom brawl during this time might have been the actual cause of Bogart's lip damage, as this coincides better with the Louise Brooks account.^[30]

Bogart had been raised to believe acting was beneath a gentleman, but he enjoyed stage acting. He never took acting lessons, but was persistent and worked steadily at his craft. He appeared in at least seventeen Broadway productions between 1922 and 1935.^[31] He played juveniles or romantic second-leads in drawing room comedies. He is said to have been the first actor to ask "Tennis, anyone?" on stage.^[32] Critic Alexander Woollcott wrote of Bogart's early work that he "is what is usually and mercifully described as inadequate."^[33] Some reviews were kinder. Heywood Broun, reviewing Nerves wrote, "Humphrey Bogart gives the most effective performance...both dry and fresh, if that be possible".^[34] Bogart loathed the trivial, effeminate parts he had to play early in his career, calling them "White Pants Willie" roles.

Early in his career, while playing double roles in the play Drifting at the Playhouse Theatre in 1922, Bogart met actress Helen Menken. They were married on May 20, 1926 at the Gramercy Park Hotel in New York City, divorced on November 18, 1927, but remained friends.^[35] On April 3, 1928, he married Mary Philips at her mother's apartment in Hartford, Connecticut. She, like Menken, had a fiery temper and, like every other Bogart spouse, was an actress. He had met Mary when they appeared in the play Nerves, which had a very brief run at the Comedy Theatre in September 1924.

After the stock market crash of 1929, stage production dropped off sharply, and many of the more photogenic actors headed for Hollywood. Bogart's earliest film role is with Helen Hayes in the 1928 two-reeler The Dancing Town, of which a complete copy has never been found. He also appeared with Joan Blondell and Ruth Etting in a Vitaphone short, Broadway's Like That (1930) which was re-discovered in 1963.^[36]

Bogart then signed a contract with Fox Film Corporation for $750 a week. Spencer Tracy was a serious Broadway actor whom Bogart liked and admired, and they became good friends and drinking buddies. It was Tracy, in 1930, who first called him "Bogey". (Spelled variously in many sources, Bogart himself spelled his nickname "Bogie".)^[37] Tracy and Bogart appeared in their only film together in John Ford's early sound film Up the River (1930), with both playing inmates. It was Tracy's film debut.^[38] Bogart then performed in The Bad Sister with Bette Davis in 1931, in a minor part.^[39]

Bogart shuttled back and forth between Hollywood and the New York stage from 1930 to 1935, suffering long periods without work. His parents had separated, and Belmont died in 1934 in debt, which Bogart eventually paid off. Bogart inherited his father's gold ring which he always wore, even in many of his films. At his father's deathbed, Bogart finally told Belmont how much he loved him.^[40] His second marriage was on the rocks, and he was less than happy with his acting career to date; he became depressed, irritable, and drank heavily.^[41]

[edit] The Petrified Forest

Bogart in the 1934 original theatrical trailer

Bogart starred in the Broadway play Invitation to a Murder at the Theatre Masque, now the John Golden Theatre, in 1934. The producer Arthur Hopkins heard the play from off-stage and sent for Bogart to play escaped murderer Duke Mantee in Robert E. Sherwood's new play, The Petrified Forest.^[41] Hopkins recalled:

When I saw the actor I was somewhat taken aback, for he was the one I never much admired. He was an antiquated juvenile who spent most of his stage life in white pants swinging a tennis racquet. He seemed as far from a cold-blooded killer as one could get, but the voice (dry and tired) persisted, and the voice was Mantee's.^[42]

The play had 197 performances at the Broadhurst Theatre in New York in 1935.^[43] Leslie Howard though, was the star. New York Times critic Brooks Atkinson said of the play, "a peach... a roaring Western melodrama... Humphrey Bogart does the best work of his career as an actor."^[44] Bogart said the play "marked my deliverance from the ranks of the sleek, sybaritic, stiff-shirted, swallow-tailed 'smoothies' to which I seemed condemned to life." However, he was still feeling insecure.^[43]

Warner Bros. bought the screen rights to The Petrified Forest. The studio was famous for its socially-realistic, urban, low-budget action pictures; the play seemed like the perfect property for it, especially since the public was entranced by real-life criminals like John Dillinger (whom Bogart resembled) and Dutch Schultz.^[45] Bette Davis and Leslie Howard were cast. Howard, who held production rights, made it clear he wanted Bogart to star with him. The studio tested several Hollywood veterans for the Duke Mantee role, and chose Edward G. Robinson, who had first-rank star appeal and was due to make a film to fulfill his expensive contract. Bogart cabled news of this to Howard, who was in Scotland. Howard's cabled reply was, "Att: Jack Warner Insist Bogart Play Mantee No Bogart No Deal L.H.". When Warner Bros. saw that Howard would not budge, they gave in and cast Bogart.^[46] Jack Warner, famous for butting heads with his stars, tried to get Bogart to adopt a stage name, but Bogart stubbornly refused.^[47] Bogart never forgot Howard's favor, and in 1952 he named his only daughter "Leslie Howard" after Howard, who had died in World War II under mysterious circumstances.^[48] Robert E. Sherwood remained a close friend of Bogart's.

Early film career[link]

Invisible Stripes trailer

The film version of The Petrified Forest was released in 1936. His performance was called "brilliant", "compelling", and "superb." Despite his success in an "A movie," Bogart received a tepid twenty-six week contract at $550 per week and was typecast as a gangster in a series of "B movie" crime dramas.^[49] Bogart was proud of his success, but the fact that it came from playing a gangster weighed on him. He once said: "I can't get in a mild discussion without turning it into an argument. There must be something in my tone of voice, or this arrogant face—something that antagonizes everybody. Nobody likes me on sight. I suppose that's why I'm cast as the heavy." Bogart's roles were not only repetitive, but physically demanding and draining (studios were not yet air-conditioned), and his regimented, tightly-scheduled job at Warners was not exactly the "peachy" actor's life he hoped for.^[50] However, he was always professional and generally respected by other actors. In those "B movie" years, Bogart started developing his lasting film persona – the wounded, stoical, cynical, charming, vulnerable, self-mocking loner with a core of honor.

The studio system, then at its most entrenched, usually restricted actors to one studio, with occasional loan-outs, and Warner Bros. had no interest in making Bogart a top star. Shooting on a new movie might begin days or only hours after shooting on the previous one was completed. Any actor who refused a role could be suspended without pay. Bogart disliked the roles chosen for him, but he worked steadily: between 1936 and 1940, Bogart averaged a movie every two months, sometimes even working on two simultaneously, as movies were not generally shot sequentially. Amenities at Warners were few compared to those for their fellow actors at MGM. Bogart thought that the Warners wardrobe department was cheap, and often wore his own suits in his movies. In High Sierra, Bogart used his own pet dog Zero to play his character's dog, Pard. Bogart's disputes with Warner Bros. over roles and money were similar to those the studio had with other less-than-obedient stars, such as Bette Davis, James Cagney, Errol Flynn, and Olivia de Havilland.^[51]

Taking a back seat to James Cagney in The Roaring Twenties (1939)

The leading men ahead of Bogart at Warner Bros. included not only such classic stars as James Cagney and Edward G. Robinson, but also actors far less well-known today, such as Victor McLaglen, George Raft and Paul Muni. Most of the studio's better movie scripts went to these men, and Bogart had to take what was left. He made films like Racket Busters, San Quentin, and You Can't Get Away with Murder. The only substantial leading role he got during this period was in Dead End (1937), while loaned to Samuel Goldwyn, where he portrayed a gangster modeled after Baby Face Nelson.^[52] He did play a variety of interesting supporting roles, such as in Angels with Dirty Faces (1938) (in which his character got shot by James Cagney's). Bogart was gunned down on film repeatedly by Cagney and Edward G. Robinson, among others. In Black Legion (1937), for a change, he played a good man caught up and destroyed by a racist organization, a movie Graham Greene called "intelligent and exciting, if rather earnest".^[53]

In 1938, Warner Bros. put Bogart in a "hillbilly musical" called Swing Your Lady as a wrestling promoter; he later apparently considered this his worst film performance.^[54] In 1939, Bogart played a mad scientist in The Return of Doctor X. He cracked, "If it'd been Jack Warner's blood...I wouldn't have minded so much. The trouble was they were drinking mine and I was making this stinking movie." Mary Philips, in her own stage hit A Touch of Brimstone (1935), refused to give up her Broadway career to go to Hollywood with Bogart. After the play closed, however, she went to Hollywood, but insisted on continuing her career and they divorced in 1937.^[55]

Dark Victory (1939) was one of the last films in which he played a supporting role

On August 21, 1938, Bogart entered into a disastrous third marriage, with actress Mayo Methot, a lively, friendly woman when sober, but paranoid when drunk. She was convinced that her husband was cheating on her. The more she and Bogart drifted apart, the more she drank, got furious and threw things at him: plants, crockery, anything close at hand. She even set the house on fire, stabbed him with a knife, and slashed her wrists on several occasions. Bogart for his part needled her mercilessly and seemed to enjoy confrontation. Sometimes he turned violent. The press accurately dubbed them "the Battling Bogarts."^[56] "The Bogart-Methot marriage was the sequel to the Civil War," said their friend Julius Epstein. A wag observed that there was "madness in his Methot." During this time, Bogart bought a motor launch, which he named Sluggy, after his nickname for his hot-tempered wife. Despite his proclamations that, "I like a jealous wife," "We get on so well together (because) we don't have illusions about each other," and, "I wouldn't give you two cents for a dame without a temper," it was a highly destructive relationship.^[57]

In California in 1945, Bogart bought a 55-foot (17 m) sailing yacht, the Santana, from actor Dick Powell. The sea was his sanctuary^[58] and he loved to sail around Catalina Island. He was a serious sailor, respected by other sailors who had seen too many Hollywood actors and their boats. About 30 weekends a year, he went out on his boat. He once said, "An actor needs something to stabilize his personality, something to nail down what he really is, not what he is currently pretending to be."

Bogart had a lifelong disgust for the pretentious, fake or phony, as his son Stephen told Turner Classic Movies host Robert Osborne in 1999. Sensitive yet caustic, and disgusted by the inferior movies he was performing in, Bogart cultivated the persona of a soured idealist, a man exiled from better things in New York, living by his wits, drinking too much, cursed to live out his life among second-rate people and projects.

Bogart rarely saw his own films and avoided premieres. He even protected his privacy with invented press releases about his private life to satisfy the curiosity of the newspapers and the public.^[59] When he thought an actor, director, or a movie studio had done something shoddy, he spoke up about it and was willing to be quoted. He advised Robert Mitchum that the only way to stay alive in Hollywood was to be an "againster." As a result, he was not the most popular of actors, and some in the Hollywood community shunned him privately to avoid trouble with the studios.^[60] But the Hollywood press, unaccustomed to candor, was delighted. Bogart once said:

All over Hollywood, they are continually advising me, "Oh, you mustn't say that. That will get you in a lot of trouble," when I remark that some picture or writer or director or producer is no good. I don't get it. If he isn't any good, why can't you say so? If more people would mention it, pretty soon it might start having some effect.

Rise to stardom[link]

[edit] High Sierra

High Sierra, a 1941 movie directed by Raoul Walsh, had a screenplay written by Bogart's friend and drinking partner, John Huston, adapted from the novel by W. R. Burnett (Little Caesar, etc.).^[61] Both Paul Muni and George Raft turned down the lead role, giving Bogart the opportunity to play a character of some depth, although legendary director Walsh initially fought the casting of supporting player Bogart as a leading man, much preferring Raft for the part. The film was Bogart's last major film playing a gangster (his final gangster role was in The Big Shot in 1942). Bogart worked well with Ida Lupino, and her relationship with him was a close one, provoking jealousy from Bogart's wife Mayo.^[62]

The film cemented a strong personal and professional connection between Bogart and Huston. Bogart admired and somewhat envied Huston for his skill as a writer. Though a poor student, Bogart was a lifelong reader. He could quote Plato, Pope, Ralph Waldo Emerson and over a thousand lines of Shakespeare. He subscribed to the Harvard Law Review.^[63] He admired writers, and some of his best friends were screenwriters, including Louis Bromfield, Nathaniel Benchley and Nunnally Johnson. Bogart enjoyed intense, provocative conversation and stiff drinks, as did Huston. Both were rebellious and liked to play childish pranks. John Huston was reported to be easily bored during production, and admired Bogart (who also got bored easily off camera) not just for his acting talent but for his intense concentration on the set.^[64]

[edit] The Maltese Falcon

From the trailer, Bogart as Sam Spade in Dashiell Hammett's The Maltese Falcon

Raft turned down the lead in John Huston's directorial debut The Maltese Falcon (1941), due to its being a cleaned up version of the pre-Production Code The Maltese Falcon (1931), his contract stipulating that he did not have to appear in remakes. The original novel, written by Dashiell Hammett, was first published in the pulp magazine Black Mask in 1929. It was also the basis for another movie version, Satan Met a Lady (1936) starring Bette Davis.^[65] Complementing Bogart were co-stars Sydney Greenstreet, Peter Lorre, Elisha Cook, Jr., and Mary Astor as the treacherous female foil.^[66]

Bogart's sharp timing and facial expressions as private detective Sam Spade were praised by the cast and director as vital to the quick action and rapid-fire dialogue.^[63] The film was a huge hit and for Huston, a triumphant directorial debut. Bogart was unusually happy with it, remarking, "it is practically a masterpiece. I don't have many things I'm proud of... but that's one".^[67]

[edit] Casablanca

With Sydney Greenstreet in Casablanca. Bogart was Oscar nominated for his performance.

Bogart gained his first real romantic lead in 1942's Casablanca, playing Rick Blaine, the hard-pressed expatriate nightclub owner, hiding from the past and negotiating a fine line among Nazis, the French underground, the Vichy prefect and unresolved feelings for his ex-girlfriend. The film was directed by Michael Curtiz, produced by Hal Wallis and featured a strong cast, including Ingrid Bergman, Claude Rains, Sydney Greenstreet, Paul Henreid, Conrad Veidt, Peter Lorre and Dooley Wilson. In real life, Bogart played tournament chess, one level below master level and often played with crew members and cast off the set. It was reportedly his idea that Rick Blaine be portrayed as a chess player, which also served as a metaphor for the sparring relationship of the characters played by Bogart and Rains in the movie. However, Paul Henreid proved to be the best player.^[68]

The on-screen magic of Bogart and Bergman was the result of two actors doing their very best work, not any real-life sparks, though Bogart's perennially jealous wife assumed otherwise. Off the set, the co-stars hardly spoke during the filming, where normally she had a reputation for affairs with her leading men.^[69] Because Bergman was taller than her leading man, Bogart had 3-inch (76 mm) blocks attached to his shoes in certain scenes.^[69] She reportedly said later, "I kissed him but I never knew him."^[70] Years later, after Bergman had taken up with Italian director Roberto Rossellini, and bore him a child, Bogart confronted her. "You used to be a great star", he said, "What are you now?" "A happy woman," she replied.^{[citation needed]}

Casablanca won the 1943 Academy Award for Best Picture. Bogart was nominated for the Best Actor in a Leading Role, but lost out to Paul Lukas for his performance in Watch on the Rhine. Still, for Bogart, it was a huge triumph. The film vaulted him from fourth place to first in the studio's roster, finally exceeding James Cagney, and more than doubling his salary to over $460,000 per year by 1946, making him the highest paid actor in the world.^[71]

Bogart and Bacall[link]

[edit] To Have and Have Not

Lauren Bacall, co-star married to Bogart from 1945 until his death

Bogart met Lauren Bacall while filming To Have and Have Not (1944), a loose adaptation of the Ernest Hemingway novel. The movie has many similarities with Casablanca – the same enemies, the same kind of hero, even a piano player sidekick (this time Hoagy Carmichael). When they met, Bacall was nineteen and Bogart was forty-four. He nicknamed her "Baby." She had been a model since she was sixteen and had acted in two failed plays. Bogart was drawn to Bacall's high cheekbones, green eyes, tawny blond hair, and lean body, as well as her poise and earthy, outspoken honesty.^[72] Reportedly he said, "I just saw your test. We'll have a lot of fun together".^[73] Their physical and emotional rapport was very strong from the start, and the age difference and different acting experience also created the additional dimension of a mentor-student relationship. Quite contrary to the Hollywood norm, it was his first affair with a leading lady.^[74] Bogart was still miserably married and his early meetings with Bacall were discreet and brief, their separations bridged by ardent love letters.^[75] The relationship made it much easier for the newcomer to make her first film, and Bogart did his best to put her at ease by joking with her and quietly coaching her. He let her steal scenes and even encouraged it. Howard Hawks, for his part, also did his best to boost her performance and her role, and found Bogart easy to direct.^[76]

Hawks at some point began to disapprove of the pair. Hawks considered himself her protector and mentor, and Bogart was usurping that role. Hawks fell for Bacall as well (normally he avoided his starlets, and he was married). Hawks told her that she meant nothing to Bogart and even threatened to send her to Monogram, the worst studio in Hollywood. Bogart calmed her down and then went after Hawks. Jack Warner settled the dispute and filming resumed.^[77] Hawks said of Bacall: "Bogie fell in love with the character she played, so she had to keep playing it the rest of her life."^[78]

[edit] The Big Sleep, Dark Passage and Key Largo

Just months after wrapping the film, Bogart and Bacall were reunited for their second movie together, the film noir The Big Sleep, based on the novel by Raymond Chandler, again with script help from William Faulkner. Chandler thoroughly admired Bogart's performance: "Bogart can be tough without a gun. Also, he has a sense of humor that contains that grating undertone of contempt."^[79] The film holds a rare niche in Hollywood history as having been completed and slated for release in 1945, then withdrawn and substantially re-edited with new, juiced up scenes added to better exploit the box office chemistry that shined between Bogie and Bacall in To Have and Have Not and the notoriety of their personal relationship. "After the public's response to Bacall's debut performance in To Have and Have Not at the urging of director Howard Hawks production partner Charles K. Feldman, scenes were re-written to heighten the 'insolent' quality that had intrigued critics and audiences in that film." By chance, a 35 mm nitrate composite master positive (fine grain) of the 1945 version survived. The UCLA Film Archive, in association with Turner Entertainment and with funding provided by Hugh Hefner, the original film was restored and released in comparison with the 1946 version in 1996.^[80]

Bogart and Bacall in Dark Passage (1947), the third of four films they made together

Bogart was still torn between his new love and his sense of duty to his marriage. The mood on the set was tense, the actors both emotionally exhausted as Bogart tried to find a way out of his dilemma. The dialogue, especially in the newly shot scenes, was full of sexual innuendo supplied by Hawks, and Bogart is convincing and enduring as private detective Philip Marlowe. In the end, the film was successful, though some critics found the plot confusing and overly complicated.^[81] Reportedly Chandler himself could not answer the question who killed the limousine driver in the story when the baffled screenwriters called him up for final reference.

Dark Passage (1947) was Bogart's and Bacall's next collaboration. The first third of the film is shot from the protagonist's point of view, with the camera seeing what he sees. After the character's plastic surgery, the rest of the movie is shot normally with Bogart as the lead character. The picture is a suspense thriller with Bogart intent on finding the real killer in a murder he was blamed for and sentenced to prison.

Key Largo was directed by John Huston and, in addition to the presence of Bogart and Bacall, features Edward G. Robinson as "Johnny Rocco," a seething older synthesis of many of his past vicious gangster roles. The cast is trapped during a spectacular hurricane in a hotel owned by Bacall's character's father in law, played by Lionel Barrymore. Claire Trevor won an Academy Award for Best Supporting Actress for her performance as Rocco's physically abused, alcoholic, girlfriend. Robinson had always had top billing over Bogart in their previous films together but for this movie, Robinson's name appears to the right of Bogart's, but placed a little higher on the posters, and also in the film's opening credits, to indicate Robinson's near-equal status. Robinson's image was also markedly larger and centered on the original poster, with Bogart relegated to the background. In the film's trailer, Bogart is repeatedly mentioned first but Robinson's name is listed above Bogart's in a cast list at the trailer's very end. Robinson's role remains similar in circumstance to Duke Mantee in The Petrified Forest (1936), Bogart's initial breakthrough which the studio had originally earmarked for Robinson.

Marriage[link]

Divorce proceedings were initiated by February 1945. Bogart and Bacall then married in a small ceremony at the country home of Bogart's close friend, Pulitzer Prize-winning author Louis Bromfield at Malabar Farm near Lucas, Ohio on May 21, 1945.^[48]

Bogart and Bacall moved into a $160,000 white brick mansion in an exclusive neighborhood in Holmby Hills. The marriage proved to be a happy one, though there were the normal tensions due to their differences. He was a homebody and she liked nightlife. He loved the sea; it made her sick. Bacall allowed Bogart lots of weekend time on his boat as she got seasick.^[82] Bogart's drinking sometimes inflamed tensions.^[83]

Lauren Bacall gave birth to Stephen Humphrey Bogart on January 6, 1949. Stephen was named after Bogart's character's nickname in To Have and Have Not, making Bogart a father at 49.^[84] Stephen would go on to become a best-selling author and biographer, later hosting a television special about his father on Turner Classic Movies. They had their second child, Leslie Howard Bogart on August 23, 1952, a girl named after British actor Leslie Howard.^[48]

Later career[link]

The enormous success of Casablanca redefined Bogart's career. For the first time, Bogart could be cast successfully as a tough, strong man and, at the same time, as a vulnerable love interest. Despite Bogart's elevated standing, he did not yet have a contractual right of script refusal, so when he got weak scripts, he dug in his heels, and locked horns again with the front office, as he did on the film Conflict (1945).^[85] Though he submitted to Jack Warner on that picture, he successfully turned down God is My Co-Pilot (1945).^[86] During part of 1943 and 1944, Bogart went on USO and War Bond tours accompanied by Mayo, enduring arduous travels to Italy and North Africa, including Casablanca.^[71]

[edit] The Treasure of the Sierra Madre

from the trailer of The Treasure of the Sierra Madre (1948)

Riding high in 1947 with a new contract which provided some script refusal rights and the right to form his own separate production company, Bogart reunited with John Huston for The Treasure of the Sierra Madre, a stark tale of greed involving three gold prospectors played out in the dusty back country of Mexico. Absent any love story or a happy ending, it was deemed a risky project.^[87] Bogart later said of co-star (and John Huston's father) Walter Huston, "He's probably the only performer in Hollywood to whom I'd gladly lost a scene".^[88]

The film was grueling to make, and was done in summer for greater realism and atmosphere.^[89] James Agee wrote, "Bogart does a wonderful job with this character...miles ahead of the very good work he has done before". John Huston won the Academy Award for direction and screenplay and his father won Best Supporting Actor, but the film had mediocre box office results. Bogart complained, "An intelligent script, beautifully directed—something different—and the public turned a cold shoulder on it".^[90]

House Un-American Activities Committee[link]

Bogart, a liberal Democrat,^[91] organized a delegation to Washington, D.C., called the Committee for the First Amendment, against the House Un-American Activities Committee's harassment of Hollywood screenwriters and actors. He subsequently wrote an article "I'm No Communist" in the March 1948 edition of Photoplay magazine in which he distanced himself from The Hollywood Ten to counter the negative publicity that resulted from his appearance. Bogart wrote: "The ten men cited for contempt by the House Un-American Activities Committee were not defended by us."^[92]

Santana Productions[link]

In addition to being offered better, more diverse roles, in 1948 he started his own production company, Santana Productions, named after his private sailing yacht. (Santana was also the name of the cabin cruiser featured in the 1948 film Key Largo).^[93] Bogart's contract gave him the right to have his own production company, but Jack Warner was reportedly furious at this, fearing that other stars would do the same and major studios would lose their power. The studios, however, were already under a lot of pressure, not just from free-lancing actors like Bogart, James Stewart, Henry Fonda and others (who also saved taxes as independents), but also from the eroding impact of television and from anti-trust laws which were breaking up theater chains.^[94] Bogart performed in his final films for Warners, Chain Lightning, released early in 1950, and The Enforcer, released early in 1951.

In a Lonely Place (1950)

Under Bogart's Santana Productions, which released through Columbia Pictures, Bogart starred in Knock on Any Door (1949), Tokyo Joe (1949), In a Lonely Place (1950), Sirocco (1951) and Beat the Devil (1954). While the majority of his films lost money at the box office (the main reason for Santana's end), at least two of them are still remembered today; In a Lonely Place is now recognized as a masterpiece of film noir. Bogart plays embittered writer Dixon Steele, who has a history of violence and becomes a suspect in a murder case at the same time that he falls in love with a failed actress, played by Gloria Grahame. Many Bogart biographers and actress/writer Louise Brooks agree that the role is the closest to Bogart's real self and is considered among his best performances.^[95] She wrote that the film "gave him a role that he could play with complexity, because the film character's pride in his art, his selfishness, drunkenness, lack of energy stabbed with lightning strokes of violence were shared by the real Bogart". The character even mimics some of Bogart's personal habits, including twice ordering Bogart's favorite meal of ham and eggs.^[96]

Beat the Devil, Bogart's last film with his close friend and favorite director John Huston, also enjoys a cult following.^{[citation needed]} Co-written by Truman Capote, the movie is a parody of The Maltese Falcon, and is a tale of an amoral group of rogues chasing an unattainable treasure, in this instance uranium.^[97]

Bogart sold his interest in Santana to Columbia for over $1 million in 1955.^[98]

[edit] The African Queen

With Katharine Hepburn in a promotional image for The African Queen

Bogart starred with Katharine Hepburn in the film The African Queen in 1951, again directed by his friend John Huston. The novel was overlooked and left undeveloped for fifteen years until producer Sam Spiegel and Huston bought the rights. Spiegel sent Katharine Hepburn the book and she suggested Bogart for the male lead, firmly believing that "he was the only man who could have played that part".^[99] Huston's love of adventure, a chance to work with Hepburn, and Bogart's earlier successes with Huston convinced Bogart to leave the comfortable confines of Hollywood for a difficult shoot on location in the Belgian Congo in Africa. Bogart was to get 30 percent of the profits and Hepburn 10 percent, plus a relatively small salary for both. The stars met up in London and announced the happy prospect of working together.

Bacall came for the duration (over four months), leaving their young child behind, but the Bogarts started the trip with a junket through Europe, including a visit with Pope Pius XII.^[100] Later, the glamor would be gone and she would make herself useful as a cook, nurse and clothes washer, for which Bogart praised her, "I don't know what we'd have done without her. She Luxed my undies in darkest Africa".^[101] Just about everyone in the cast came down with dysentery except Bogart and John Huston, who subsisted on canned food and alcohol. Bogart explained: "All I ate was baked beans, canned asparagus and Scotch whisky. Whenever a fly bit Huston or me, it dropped dead."^[102] The teetotaling Hepburn, in and out of character, fared worse in the difficult conditions, losing weight, and at one time, getting very ill. Bogart resisted Huston's insistence on using real leeches in a key scene where Bogart has to drag the boat through a shallow marsh, until reasonable fakes were employed.^[103] In the end, the crew overcame illness, soldier ant invasions, leaking boats, poor food, attacking hippos, bad water filters, fierce heat, isolation, and a boat fire to complete a memorable film.^[104] Despite the discomfort of jumping from the boat into swamps, rivers and marshes the film apparently rekindled in Bogart his early love of boats and on his return to California from the Congo he bought a classic mahogany Hacker-Craft runabout which he kept until his death.

The African Queen was the first Technicolor film in which Bogart appeared. He appeared in relatively few color films during the rest of his career, which continued for another five years. The role of Charlie Allnutt won Bogart his only Academy Award for Best Actor in a Leading Role in 1951. Bogart considered his performance to be the best of his film career.^[105] He had vowed to friends that if he won, his speech would break the convention of thanking everyone in sight. He advised Claire Trevor, when she had been nominated for Key Largo, to "just say you did it all yourself and don't thank anyone". But when Bogart won the Academy Award, which he truly coveted despite his well-advertised disdain for Hollywood, he said "It's a long way from the Belgian Congo to the stage of this theatre. It's nicer to be here. Thank you very much...No one does it alone. As in tennis, you need a good opponent or partner to bring out the best in you. John and Katie helped me to be where I am now". Despite the thrilling win and the recognition, Bogart later commented, "The way to survive an Oscar is never to try to win another one...too many stars...win it and then figure they have to top themselves...they become afraid to take chances. The result: A lot of dull performances in dull pictures".^[106]

Final roles[link]

Bogart dropped his asking price to get the role of Captain Queeg in Edward Dmytryk's The Caine Mutiny, then griped with some of his old bitterness about it.^[107] For all his success, he was still his melancholy old self, grumbling and feuding with the studio, while his health was beginning to deteriorate. The character of Captain Queeg, mirrored those Bogart had played in The Maltese Falcon, Casablanca and The Big Sleep—the wary loner who trusts no one—but with none of the warmth or humor of those roles. Like his portrayal of Fred C. Dobbs in The Treasure of the Sierra Madre, Bogart played a paranoid, self-pitying character whose small-mindedness eventually destroyed him. Three months before the film's release, Bogart as Queeg appeared on the cover of TIME magazine, while on Broadway Henry Fonda was starring in the stage version (in a different role), both of which generated strong publicity for the film.^[108]

In Sabrina, Billy Wilder, unable to secure Cary Grant, chose Bogart for the role of the older, conservative brother who competes with his younger playboy sibling (William Holden) for the affection of the Cinderella-like Sabrina (Audrey Hepburn). Bogart was lukewarm about the part, but agreed to it on a handshake with Wilder, without a finished script, and with the director's assurances to take good care of Bogart during the filming.^[109] But Bogart got on poorly with his director and co-stars. He also complained about the script, which was written on a last-minute, daily basis, and that Wilder favored Hepburn and Holden on and off the set. The main problem was that Wilder was the opposite of his ideal director, John Huston, in both style and personality. Bogart told the press that Wilder was "overbearing" and "is the kind of Prussian German with a riding crop. He is the type of director I don't like to work with... the picture is a crock of crap. I got sick and tired of who gets Sabrina."^[110] Wilder said, "We parted as enemies but finally made up." Despite the acrimony, the film was successful. The New York Times said of Bogart, "he is incredibly adroit... the skill with which this old rock-ribbed actor blend the gags and such duplicities with a manly manner of melting is one of the incalculable joys of the show."^[111]

The Barefoot Contessa (1954)

The Barefoot Contessa, directed by Joseph Mankiewicz, was filmed in Rome, and released in 1954. In this Hollywood back-story movie, Bogart again is the broken-down man, this time the cynical director-narrator who saves his career by making a star of a flamenco dancer Ava Gardner, modeled on the real life of Rita Hayworth. Bogart was uneasy with Gardner because she had just split from "rat-pack" buddy Frank Sinatra and was carrying on with bullfighter Luis Miguel Dominguín. Bogart told her, "Half the world's female population would throw themselves at Frank's feet and here you are flouncing around with guys who wear capes and little ballerina slippers." He was also annoyed by her inexperienced performance. Later, she credited him with helping her. Bogart's performance was generally praised as the strongest part of the film.^[112] During the filming, while Bacall was home, Bogart resumed his discreet affair with Verita Peterson, his long-time studio assistant whom he took sailing and enjoyed drinking with. But when Bacall suddenly arrived on the scene discovering them together, Bacall took it quite well. She extracted an expensive shopping spree from him and the three traveled together after the shooting.^[113]

Bogart could be generous with actors, particularly those who were blacklisted, down on their luck, or having personal problems. During the filming of The Left Hand of God (1955), he noticed his co-star Gene Tierney having a hard time remembering her lines and also behaving oddly. He coached Tierney, feeding her lines. He was familiar with mental illness (his sister had bouts of depression), and Bogart encouraged Tierney to seek treatment, which she did.^[114][115] He also stood behind Joan Bennett and insisted on her as his co-star in We're No Angels when a scandal made her persona non grata with Jack Warner.^[116]

In 1955, Bogart made three films: We're No Angels (dir. Michael Curtiz), The Left Hand of God (dir. Edward Dmytryk) and The Desperate Hours (dir. William Wyler). Mark Robson's The Harder They Fall (1956) was his last film.

Television and radio work[link]

Bogart rarely appeared on television. However, he and Bacall appeared on Edward R. Murrow's Person to Person. Bogart was also featured on The Jack Benny Show. The surviving kinescope of the live Benny telecast features Bogart in his only TV sketch comedy outing. Bogart and Bacall also worked together on an early color telecast, in 1955, an NBC adaptation of The Petrified Forest for Producers' Showcase; only a black and white kinescope of the live telecast has survived.

Bogart performed radio adaptations of some of his best known films, such as Casablanca and The Maltese Falcon. He also recorded a radio series called Bold Venture with Lauren Bacall.

The Rat Pack[link]

Bogart was a founding member of the Rat Pack. In the spring of 1955, after a long party in Las Vegas with Frank Sinatra, Judy Garland, her husband Sid Luft, Mike Romanoff and wife Gloria, David Niven, Angie Dickinson and others, Lauren Bacall surveyed the wreckage of the party and declared, "You look like a goddamn rat pack."^[117]

Romanoff's in Beverly Hills was where the Rat Pack became official. Sinatra was named Pack Leader, Bacall was named Den Mother, Bogie was Director of Public Relations, and Sid Luft was Acting Cage Manager.^[118] When asked by columnist Earl Wilson what the purpose of the group was, Bacall responded "to drink a lot of bourbon and stay up late."^[117]

Death[link]

By the mid-1950s, Bogart's health was failing. Once, after signing a long-term deal with Warner Bros., Bogart predicted with glee that his teeth and hair would fall out before the contract ended. Bogart had formed a new production company and had plans for a new film Melville Goodwin, U.S.A., in which he would play a general and Bacall a press magnate. His persistent cough and difficulty eating became too serious to ignore and he dropped the project. The film was renamed Top Secret Affair and made with Kirk Douglas and Susan Hayward.^[119]

Bogart, a heavy smoker and drinker, developed cancer of the esophagus. He almost never spoke of his failing health and refused to see a doctor until January 1956. A diagnosis was made several weeks later and by then removal of his esophagus, two lymph nodes, and a rib on March 1, 1956, was too late to halt the disease, even with chemotherapy.^[120] He underwent corrective surgery in November 1956 after the cancer had spread.^[48] Katharine Hepburn and Spencer Tracy visited him at this time. Frank Sinatra was also a frequent visitor. With time, Bogart grew too weak to walk up and down stairs. He valiantly fought the pain and joked about his immobility: "Put me in the dumbwaiter and I'll ride down to the first floor in style." The dumbwaiter was then altered to accommodate his wheelchair.^[121] In an interview, Hepburn described the last time she and Spencer Tracy saw Bogart (the night before he died):

Spence patted him on the shoulder and said, "Goodnight, Bogie." Bogie turned his eyes to Spence very quietly and with a sweet smile covered Spence's hand with his own and said, "Goodbye, Spence." Spence's heart stood still. He understood.^[122]

Bogart had just turned 57 and weighed 80 pounds (36 kg) when he died on January 14, 1957, after falling into a coma. He died at 2:25 am at his home at 232 South Mapleton Drive in Holmby Hills, California. His simple funeral was held at All Saints Episcopal Church with musical selections from Bogart's favorite composers, Johann Sebastian Bach and Claude Debussy. The ceremony was attended by some of Hollywood's biggest stars, including Katharine Hepburn, Spencer Tracy, David Niven, Ronald Reagan, James Mason, Danny Kaye, Joan Fontaine, Marlene Dietrich, Errol Flynn, Gregory Peck and Gary Cooper, as well as Billy Wilder and Jack Warner. Bacall had asked Tracy to give the eulogy, but Tracy was too upset, so John Huston spoke instead and reminded the gathered mourners that while Bogart's life had ended far too soon, it had been a rich one.

Himself, he never took too seriously—his work most seriously. He regarded the somewhat gaudy figure of Bogart, the star, with an amused cynicism; Bogart, the actor, he held in deep respect...In each of the fountains at Versailles there is a pike which keeps all the carp active; otherwise they would grow overfat and die. Bogie took rare delight in performing a similar duty in the fountains of Hollywood. Yet his victims seldom bore him any malice, and when they did, not for long. His shafts were fashioned only to stick into the outer layer of complacency, and not to penetrate through to the regions of the spirit where real injuries are done...He is quite irreplaceable. There will never be another like him."^[123]

Bogart's cremated remains were interred in Forest Lawn Memorial Park Cemetery, Glendale, California. He was buried with a small gold whistle, which he gave to Lauren Bacall before they married, inscribed with a quote from their first movie together: "If you want anything, just whistle."^[124]

Legacy and tributes[link]

After his death, a "Bogie Cult" formed at the Brattle Theatre in Cambridge, Massachusetts, as well as Greenwich Village, New York and in France, which contributed to his spike in popularity in the late 1950s and 1960s. In 1997, Entertainment Weekly magazine named him the number one movie legend of all time. In 1999, the American Film Institute ranked him the Greatest Male Star of All Time.

Jean-Luc Godard's Breathless (1960) was the first film to pay tribute to Bogart. Later, in Woody Allen's comic tribute to Bogart Play It Again, Sam (1972), Bogart's ghost comes to the aid of Allen's bumbling character, a movie critic with woman troubles and whose "sex life has turned into the 'Petrified Forest'".

Awards and honors[link]

Humphrey Bogart's star on the Hollywood Walk of Fame

On August 21, 1946, Humphrey Bogart was honored in a ceremony at Grauman's Chinese Theater to record his hand and footprints in cement. On February 8, 1960 he was posthumously given a star on the Hollywood Walk of Fame at 6322 Hollywood Boulevard. During his career he was nominated for several awards including the BAFTA award for best foreign actor in 1952 for The African Queen and several Academy Awards.

In 1997, the United States Postal Service honored Bogart with a stamp bearing his image in its "Legends of Hollywood" series as the third figure to be recognized.^[125] At a formal ceremony attended by Lauren Bacall, and the Bogart children, Stephen and Leslie, Tirso del Junco, the chairman of the governing board of the USPS, provided an eloquent tribute:

"Today, we mark another chapter in the Bogart legacy. With an image that is small and yet as powerful as the ones he left in celluloid, we will begin today to bring his artistry, his power, his unique star quality, to the messages that travel the world."^[126]

On June 24, 2006, a section of 103rd Street between Broadway and Amsterdam Avenue in New York City was renamed "Humphrey Bogart Place". Lauren Bacall and her son Stephen Bogart were present at the commemorative event. "Bogie would never have believed it," Lauren Bacall expressed to the assembled group of city officials and onlookers in attendance.^[127]

In popular culture[link]

Humphrey Bogart's life has inspired writers and others:

• Two Bugs Bunny cartoons featured Humphrey Bogart:
  • In Slick Hare (1947), Bogart orders fried rabbit in a Hollywood restaurant. Told that they do not have any, he becomes insistent, leading waiter Elmer Fudd to try (unsuccessfully as usual) to serve Bugs as the meal. Bogart finally gives up, saying: "Baby will just have to have a ham sandwich instead." – "Baby" being Bacall's nickname. Bugs, upon hearing the name, immediately presents himself and goes completely ga-ga over Bacall, who looks on with amusement.^[128]
  • In 8 Ball Bunny (1950) Bugs decides to take a baby penguin back to the South Pole. At intervals, "Fred C. Dobbs" (Bogart's character in Treasure of the Sierra Madre) appears and asks Bugs to "help out a fellow American who's down on his luck" – a line Bogart says a number of times in the film to John Huston, playing an American gringo.^[129]
• Bogart is featured in one of Woody Allen's comic movies, Play It Again, Sam (1972), which relates the story of a young man obsessed by his persona.^[130]
• Issue No.70 of the US The Phantom (1977) comic book is known as the "Bogart" issue, as the story stars Humphrey Bogart, Lauren Bacall, Sydney Greenstreet, Peter Lorre and Claude Rains and is a mixture of Casablanca, The African Queen, The Maltese Falcon and The Treasure of the Sierra Madre.^[131]
• The Man With Bogart's Face (1981) was an homage to Bogart and starred Bogart lookalike Robert Sacchi.^[132]
• The slang term "bogarting" refers to taking an unfairly long time with a joint that is supposed to be shared. It derives from Bogart's style of cigarette smoking, with which he left his cigarette dangling from his mouth rather than withdrawing it between puffs.^[133] The term also inspired a 1968 song Don't Bogart Me (also known as Don't Bogart That Joint) by US band Fraternity of Man, which became popular in hippy culture through its inclusion in the soundtrack of the 1969 film Easy Rider, and the song Don't Bogart My Heart by Australian singer/songwriter Darren Hanlon.^[134] "Bogart" can also refer to coercion or bullying in African-American slang ^[135]

Quotations[link]

Wikiquote has a collection of quotations related to: Humphrey Bogart

Bogart is credited with five of the American Film Institute's top 100 quotations in American cinema, the most by any actor:

• 5th: "Here's looking at you, kid" – Casablanca
• 14th: "The stuff that dreams are made of." – The Maltese Falcon
• 20th: "Louis, I think this is the beginning of a beautiful friendship." – Casablanca
• 43rd: "We'll always have Paris." – Casablanca
• 67th: "Of all the gin joints in all the towns in all the world, she walks into mine." – Casablanca

Bogart is also credited with one of the top movie misquotations. In Casablanca, neither he (nor anyone else) ever said, "Play it again, Sam," although that "quote" is widely credited to him, and is the title of the Woody Allen tribute movie. When Ilsa (Ingrid Bergman), his former love, first enters the Café Americain, she spots Sam, the piano player (Dooley Wilson) and asks him to "Play it once, Sam, for old times' sake." When he feigns ignorance, she responds, "Play it, Sam. Play 'As Time Goes By.'" Later that night, alone with Sam, Rick says, "You played it for her and you can play it for me," and "If she can stand it, I can! Play it!"^[136]

Filmography[link]

See also[link]

• Bogart–Bacall syndrome

List of Santana productions[link]

References[link]

Notes[link]

Citations[link]

Bibliography[link]

External links[link]

Wikimedia Commons has media related to: Humphrey Bogart

• Humphrey Bogart at the Internet Broadway Database
• Humphrey Bogart at the Internet Movie Database
• Humphrey Bogart Official Website
• Humphrey Bogart at AllRovi
• Humphrey Bogart at the TCM Movie Database
• Works by or about Humphrey Bogart in libraries (WorldCat catalog)
• Bogie Online: The online resource for Humphrey Bogart fans
• Humphrey Bogart player profile at ChessGames.com
• Modern Drunkard: Three Drinks Ahead With Humphrey Bogart
• Genealogy of Humphrey Bogart
• Bogart: Behind the Legend (documentary)
• Verita Thompson:Humphrey Bogart's Secret Mistress
• Bibliography
• Bold Venture radio show (32 episodes)
• Tribute to Humphrey Bogart
• Humphrey Bogart's appearances in the 1900 US Census -- Version 1 and Version 2, in the 1905 NY Census, the 1910 US Census, and the 1920 US Census.