Divorce probably would have been the easier option.
Conflict was Humphrey Bogart's follow-up to the crowd pleasing To Have and Have Not, and he takes a dark turn as a man whose bad marriage is complicated by the fact that he's fallen in love with his sister-in-law. He's willing to kill to be free, but his plan goes sideways, as they always do. We won't go into detail except to note that, interestingly, Bogart begins to see the same jumbled pyramidal shape everywhere—in a pile of fallen logs, in an architectural drawing, in the kindling set up to start a bonfire, etc. It's a Hitchcockian touch designed to symbolize the inner conflict of the title, but why exactly is he seeing these things? Is it because he killed his wife? Or because he botched his opportunity and now she's trying to drive him insane? We won't tell you. We'll only say that the winding road toward a resolution is reasonably entertaining, and Bogart can pull even a flawed film to the positive side of the ledger. Conflict, which co-starred Alexis Smith and Sydney Greenstreet, premiered in the U.S. today in 1945.
Bogart and Bacall arrive in Italy in Grande style.
Above, a beautiful poster for Il grande sonno, better known as The Big Sleep, with Humphrey Bogart and Lauren Bacall. Was Bacall a redhead? Well, she was in Italy. At the top of the poster you see that this played at the Politeama cinema. Rome? Naples? Palermo? Genoa? Cinemas with that name abounded, so we have no way of knowing exactly where the poster was displayed. You'll see the art attributed to Luigi Martinati on various websites, but we don't think so. It doesn't look like his work, and it's actually signed “Nico” near Bacall's right thigh. Martinati did paint a couple of posters for this movie, though, which we may upload later. We've talked about The Big Sleep—as has every other film noir related site on the internet. We don't have any special insights, but if you're curious what we said anyway, check here. After opening in the U.S. in 1946, The Big Sleep arrived in Italy today in 1947, which the poster tells us was martedì—a Tuesday.
The house that Bogart built.
The first time we watched Casablanca years ago we were impressed by so many aspects of the film, but perhaps most by its humor. There are laugh lines scattered throughout the first half of the script, but by far our favorite bit is:
Major Strasser: “What is your nationality?”
Rick Blaine: “I'm a drunkard.”
It's impossible to overrate the movie. Only iconoclasts don't like it. The above poster befits such a landmark film. It was painted by Bill Gold for the movie's U.S. run, which began in New York City today in 1942. You can see two more incredible Casablanca posters here.
Bogart traipses down the Gardner path.
This stunning Belgian poster was made to promote La comtesse aux pieds nus, which was the French title of the Ava Gardner/Humphrey Bogart drama The Barefoot Contessa. Along the bottom you see the title in Dutch as well—De barrevoetse gravin. We've seen the film, but we're not to going to discuss it, at least not today. Let's just say Humphrey Bogart's character narrates the life and times of Ava Gardner's memorable and much desired character, and the result was a film panned by several important critics upon release but thought of more fondly as time wore onward, as older movies often are. It premiered in Belgium today in 1955, so we just wanted to share its brilliant promo. As you probably know by now, artists were often asked to produce similar versions of the same poster for different markets. The German promo was painted by Rolf Goetze and it's close to what you see above. The French promo was painted by Henri Cerutti, again with near identical content. Who gets credit for the Belgian poster is unknown to us, but it's an amazing effort.
Clothes encounters of the Hollywood kind.
We've been gathering rare wardrobe and hairdresser test shots from the golden era of Hollywood, and today seems like a good day to share some of what we've found. It was standard procedure for all the main performers in a movie to pose for such photos, but the negatives that survive tend to belong to the most popular stars, such as Cary Grant, who you see at right. You'll see Marilyn Monroe more than amply represented below. What can we do? She's possibly the most photographed Hollywood figure ever, and she was beautiful in every exposure. But we've also found shots of a few lesser known stars, such as Giorgia Moll and France Nuyen.
Some of the shots are worth special note. You'll see Doris Day as a mermaid for The Glass Bottom Boat, Liz Taylor as a kid for National Velvet and an adult for Cat On a Hot Tin Roof, Farrah Fawcett in lingerie, Sheree North in both front and rear poses, and Yul Brynner looking like an actual man by sporting a body that had to that point seemingly known neither razor nor wax (he ditched the fur for his actual onscreen appearances). Usually the photos feature a chalkboard or card with pertinent information about the production and star, but not always, as in the case of Brynner's photo, and in Audrey Hepburn's and Joan Collins' cases as well. If the names of the subjects don't appear on the chalkboards you can refer to the keywords at bottom, which are listed in order. We may put together another group of these wardrobe shots later.
Gold may fill the pockets but it can also empty the soul.
We wanted to show you a bit more work from German artist Rolf Goetze. We settled on this West German poster for the quasi-western drama Treasure of the Sierra Madre because the film premiered in West Germany today in 1949. This is Goetze at his best. For that matter, it's Humphrey Bogart, Walter Huston, and John Huston at their best too. That isn't just our opinion—Walter Huston won a Best Actor Academy Award for his performance, and John Huston won both Best Director and Best Screenplay. If you're not familiar with the film, we'll just tell you it's a cautionary tale about the lust for riches, and it contains this classic and oft-mangled quote: “Badges? We ain't got no badges. We don't need no badges. I don't have to show you any stinking badges!” More Goetze poster work to be seen here and here.
Bogart counts down to zero hour.
This striking Roger Soubie promo poster for La maison des otages, aka The Desperate Hours, doesn't leave much doubt about what happens to Humphrey Bogart, but even without the poster there wouldn't be any doubt. Bogart stars, in his last villain role, as an ex-con who takes a family hostage in order to use their home as a hideout. During the Leave It To Beaver 1950s there was no way his character was going to go unpunished for pointing a gun at a kid. Even seeing it in the promo image below makes you cringe a little, doesn't it? But the inevitable consequences of Bogart's actions aren't the point—how he struggles to maintain the constantly evolving hostage scenario is what generates the drama, and the imprisoned family aren't his only problem. La maison des otages is a later noir, but a better one. It opened in France today in 1956.
You know what they say about men with big hats.
In this production still from 1946's The Big Sleep featuring a bizarrely large hat in the foreground, Martha Vickers falls into Humphrey Bogart's arms. Bogart, under normal circumstances, would have been smart to likewise fall for Miss Vickers, but his other choice in the movie was Lauren Bacall. Which means it was she who got hat, head, and all the rest.
Every day is a winding road.
Above, a promo photo of actor and icon Humphrey Bogart. Widely considered the greatest star in American film history, the hard-living Bogart—who was a founding member of Frank Sinatra's infamous Rat Pack and once said the problem with the world was that everyone was a few drinks behind—died of cancer this month, 1957.
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