Хэмфри Богарт english

Доклад - Разное

Другие доклады по предмету Разное

Скачать Бесплатно!
Для того чтобы скачать эту работу.
1. Подтвердите что Вы не робот:
2. И нажмите на эту кнопку.

s suspicions but no way to prove anything so he answered no. Despite holding himself in check during questioning, when allowed to add anything to the record his anger spilled out, "Ive been born an American. Ive always been a loyal citizen. I have great love for my country. Anytime I would be called upon I would sever that country. I resent the intrusion and insinuation that I am anything else --- I think its completely un-American (for) a ma (Leech) who has been, as far as I can read in the papers, called a liar to be allowed to testify befroe a grand jury without the people accused being permitted to have an opportunity to answer those charges."
The newspapers had a field day tearing apart Leech, and at the same time questioning the credibility of Dies and his Committee. The end result of this round amounted to nothing, when Dies was forced to admit that there was "no evidence" connecting anyone Leech named to the Communist Party.
Later that year, Bogart and Huston were reteamed for an even bigger film, the third, and without a doubt the best version of The Maltese Falcon, which was also Hustons directorial debut. As detective Sam Spade, Bogart created the first film-noir detective, a character that everyone from Alan Ladd to George Raft tried unsuccessfully to copy during the 40s. It was also the first time Bogart was given a strong romantic relationship onscreen. While men had appreciated his tough guy demeanor, for the first time women began to respond to his sexuality. After The Maltese Falcon, Bogart was firmly established with Davis, Cagney, Robinson, and Errol Flynn in the upper echelon of Warners stock company.
Bogart, Astor, Greenstreet and Huston teamed up again the following year for Across the Pacific, a wartime adventure which The New York Times called a delightfully fear-jerking picture. Bogarts next film, also in 1942, might have started off as just another wartime epic, but it would ultimately become the film most identified with Bogart--Casablanca. Based on an unproduced play called Everybody Goes to Ricks, Casablanca has rightfully earned a reputation as the greatest love story ever put on film. The tale of Rick Blaine, a nightclub owner in Casablanca, who becomes torn between love and honor when his former love Ilsa Lund (Ingrid Bergman) shows up in Casablanca with her husband, Victor Laszlo, a Resistance fighter fleeing the Nazis, is timeless. Bogarts pain as hears Sam play As Time Goes By; Bogart and Bergman bidding a tearful farewell at the airport; Bogart and Claude Rains pledging eternal friendship; and countless other scenes have become a part of film lore. The films status is also due in no small part to the superb supporting cast including Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, and Dooley Wilson, as well as Michael Curtizs masterful direction and a taut script by Philip and Julius J. Epstein and Howard Koch. Bogart, in his first romantic role, was honored with his first Academy Award nomination (he inexplicably lost to Paul Lukas in another Warner Brothers flagwaver, Watch on the Rhine).
The fact that Casablanca was chosen as Best Picture of 1943 and has since made just about everyones list of the 10 greatest movies ever made is especially remarkable when one considers the script was only half finished when shooting began. The actors were given new pages of dialogue on a day-to- day basis, and were unaware of how the picture would end until the last scene was shot. The final decision was to write two endings--one in which Henreid gets Bergman, and another in which she stays with Bogart--shoot both and then show both to preview audiences to see which works better. As it turned out, the former was shot first and played so well that plans for a second version were abandoned.
During the filming of Casablanca, Mayo was a frequent (and none too welcome) visitor to the set. She was extremely jealous of Bergman and became convinced that her love scenes with Bogart were a little too convincing. Supposedly, once when Bogart received a compliment on his performance in Casablanca, the star quipped, I wasnt allowed to see it.
While Mayos concerns about Bergman may have been unjustified, she had every reason to worry when Bogart was assigned to star in To Have and Have Not in 1944. His co-star in this loose adaptation of the Ernest Hemingway novel was a sleek 20-year-old fashion model named Lauren Bacall, who had just been signed by Warner Brothers. When Bogart met Bacall for the first time after seeing her screen test, he said, Well have a lot of fun together. If the finished film is any indication, they obviously had a great time both in front of and away from the camera. Once audiences saw the classic scene in To Have and Have Not when Bacall taught Bogart to whistle, everyone knew he had met his match.
Fun turned to romance and the two were soon talking marriage. Unfortunately, Mayo was still trying to hold onto her husband, but even she knew it was hopeless. She and Bogart were divorced on May 10, 1945; Bogart and Bacall were married 11 days later.
Bogarts wedding present from Warner Brothers was a new contract which guaranteed him an annual salary of $1 million for the next 15 years, an unprecedented agreement at the time. Certainly the box-office strength of To Have and Have Not and his new marriage to his leading lady were a factor. The studio wasted no time in reteaming them for three more films: The Big Sleep (1946), Dark Passage (1947) and Key Largo (1948). While all were entertaining, none had the same spark as their first film, although The Big Sleep came closest. Sandwiched in the middle of the Bacall trio were the film noir Dead Reckoning (1947) with Lizabeth Scott, a poor mans Bacall, for Columbia, and The Two Mrs. Carrolls (1947) which cast Bogart as an artist with shades of Bluebeard menacing (unconvincingly) spouse Barbara Stanwyck.
Now at the height of his fame Bogart almost brought his own career to end, taking on the 1947 HUAC hearings, which had seven years previously targeted him. His friend and director John Huston was a founding member of the Committee for the First Amendment (CFA), and Bogart along with his wife Lauren Bacall threw their support behind it. Along with many others they produced a radio broadcast opposing the hearings, and flew to Washington to show their opposition to hearings they felt were trampling all over the Constitution.
The hearings turned into a circus with the CFA caught in the middle, and a now unfriendly press, began to question why Bogart and Bacall were taking to task a Committee striving to stop the "hater of our people. the foe of our way of life, the poisoner of the minds of our children." Bogart would be targeted by the media, and he freely gave various interviews, to the leftists he was a reactionary to the Republicans he was a Communist.
The final blow came in November of 1947, as Dark Passage starring Bogart and Bacall was released. Bogart in New York to promote the film continued to voice his displeasure with HUAC, and a frantic Jack Warner cabled his New York people to get Bogart to "make a retraction" At the same time a letter writing campaign was targeting Fox theatres that were showing his films, box office receipts for Dark Passage, which usually amounted to $1,000 a day per theatre showing a Bogart film, barely took in one fifth of that, and Warners pulled the film. The FBI was now composing a file on Bogart, despite the attempts of Ed Sullivan, who did not like what Bogart was saying, but nonetheless called FBI Director J. Edgar Hoover and said Bogart was as much a Commie the Director. Bogarts own production company, Santanna, was having trouble securing money for new productions, the public was beinging to openly question him and the CFA, studio executives were pressuring their contract players to retract statements against HUAC
By December the pressure had won out and defeated the CFA, Bogart in particular was the first to capitulate, and headed back to Hollywood by train. Warner Brothers had a statement drafted for him, and on a rain soaked platform in Chicago, Bogart addressed the assembled press, "I went to Washington because I thought fellow Americans were being deprived of their Constitutional rights, and for that reason alone. That the trip was ill-advised, even foolish, I am very ready to admit. At the time it seemed the right thing to do. --- I am an American --- sometimes a foolish and impetuous American." He went on to add that Communists had used the CFA for their own agenda.
Several papers, and one congressman, Chet Holifield wrote that the CFA and Bogart had no need to apologize or retract statements, noting that even the toughest of actors can be forgiven for faltering under intense pressure, said one columnist "All right, Humphrey. You can get up off your knees."
Fellow CFA members were in shock at their star attraction pulling hte rug out from under them, though many understood the intense pressure put upon him. Many noted that he had a tortured look about him. John Huston would later say of his friends actions "I felt Bogie was out of line. But he was only the first of quite a number."
Despite this apparent falling out, Bogart reteamed with his favorite director John Huston for another career milestone, The Treasure of the Sierra Madre. Bogart shed his private eye image for a chance at his first solid character role. As a grubby gold prsopector named Fred C. Dobbs