In many ways, Key Largo is the definitive post-war film. This is partly because Key Largo finds a way, in spite of its hallmark genre era patented cynicism, to be the ultimate cinematic affirmation of the worldview that sprang up for the Greatest Generation following the Second World War. Robinson’s best take on a wiseguy in the part of Johnny Rocco, but with its coherent plotting and lack of sexual innuendo between Bogie and a surprisingly softer Bacall, it sometimes flies under the radar with fans looking for the quintessential post-war noirs. It is definitely a crime picture filled with gangsters, including Edward G. Indeed, while the movie is fondly remembered as a Bogie and Bacall sizzler in the world of booze, broads, and bullets, it is the one “noir” film that they did which is not truly noir. Yet, as great as their two collaborations with Howard Hawks are, To Have and Have Not (1944) and The Big Sleep (1946), I found myself again drawn to their fourth, final, and most underrated shared project, John Huston’s Key Largo (1948). But on the flipside, he was never her patsy either, and each film bucked the odds of a noir hero’s chances for survival when confronted by cool blonde hair (and make no mistake, Bacall was as cool as they came). Much like their legendary off-screen romance, Bogie spent three consecutive noir films matching wits with the much younger Bacall and never once seemed her senior or superior. But how could she when her earliest films always had her squaring off against Humphrey Bogart? He was too much an equal for the dame-est dame who ever lived to be lured to a cataclysmic end. When bogart.disarmed him.in his office and the gun fell to the floor, I saw the Colt Medallion on the grips.Often described as simply “the voice,” this is the woman who possessed that confidence-annihilating siren call a quintessential femme fatale who somehow never proved fatal. Man and I thought some of the more modern movies like The Net or The Fugitive had complicated plots.Big Sleep is a mess.Īs for Joel Cairo, I just happen to be watching that movie right now. Rent the movie (or better yet, but this classic). The next one comes out using Bacall as a shield and unloads his gun into Bogarts car, Bogart then pops up and nails him. One goes outside and he, hiding behind his car in the dark, fires a shot in the ground and scares the guy off. He gets Bacall to untie him, distract the goons, and gets to his car to get his DS backup. Next scene is where Bogart is tied up and his larger OP is taken. First is where a mobster's goon sticks up Lauren Bacall and Bogart jumps out from behind a car with his DS and gets the guys hands up then knocks him out. And I think you are mixing two different scenes in the movie. He's hiding behind the fender of his car, and fires a shot or two into the ground to get the guy he wants to put his hands up and surrender.īut I DISTINCTLY remember the Detective Special He parks outside of a house or a club, and lures his foe outside. I distinctly remember him using a Colt DS in one of his movies, I just don't remember which one.
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