High Sierra: Bogart’s Breakthrough Role

Lead character Mad Dog Earle is a cold-blooded killer at the beginning of High Sierra (1941). But by the end he’s helped heal a disabled young woman and fallen hard for a cocktail dancer named Marie (Ida Lupino), in a rare noir western that would be the breakthrough film cementing Humphrey Bogart’s A-List Star status. Unlike Private Investigator Sam Spade, the main character in the Maltese Falcon, also made in 1941 and starring Bogart, Roy Earle is a hardened criminal. The character is the literal half-way point for Bogie’s evolution from B-movie gangster tough guy to screen preeminence as ultra-cool, bowtie and tuxedo wearing Rick Blaine in Casablanca (1942).

Bogart’s breakthrough-role involves the wide-ranging emotional landscape Bogart would dominate in from the early-40’s into the early-to-mid fifties. But in 1941, he was breaking into the mainstream as a tough guy with a heart. Bogart’s characters would still be tough and more than able to defend themselves, simultaneously someone you wouldn’t want to mess with while every woman in the world secretly wanted to be in love with – they would mellow over time like fine aged whiskey.

High Sierra is known for being the movie where Bogart showed true range. He let’s himself fall in love with Marie – yet remains wildly unstable. And while the film may seem dated to some, unlike Falcon and Casablanca which seem to retain their style and freshness timelessly – High Sierra is well worth-watching to see the genesis of the Bogart character coming into it’s own. Mad Dog has a vulnerability that is meant to be ironic and against-type, and it’s exactly the role Bogart needs to test the romantic waters for Casablanca.

Bogart was not at all sure audiences would buy him as a romantic lead in 1942. It was the experience of shooting High Sierra that gave him the initial confidence to take the Casablanca role. And while Sam Spade was toying with Brigette O’Shaunessy (Mary Astor), through most of Maltese Falcon, Rick is truly smitten with Ilsa (Ingrid Bergman) in Casablanca. The vulnerability Bogart is able to show and still remain manly and tough in Casablanca began in High Sierra. I won’t spoil the ending, but just watch for the moment when Bogart’s Roy Earle decides maybe love is worth sacrificing for, if not the greater good.

Bogart with his trademark Mad Dog Earle haircut yukking it up with his High Sierra director, Raoul Walsh.

CINEMUSES: Mary Astor, The Ultimate Femme Fatale

There is something so deliciously bad-ass about Mary Astor. She was the ultimate femme fatale, Brigette O’Shaunessy, from The Maltese Falcon starring Humphrey Bogart and directed by John Huston. The first and arguably best Film Noir, Falcon is as perfect in its structure and form as Casablanca. And as perfectly beautiful and virtuous as Ingrid Bergman was as Ilsa, Mary Astor is as the beautiful, deadly and duplicitous Brigette.
Now, the very definition of a femme fatale is a woman so beautiful and beguiling that a man would willing walk into his own open grave to please her. She must be so intoxicating that a man would off-himself if only to have her one-time. Mary Astor was smoking-hot in Falcon, but she was also smart, brassy, quick-talking and utterly shameless in manipulating men. Sparks flew between her and Sam Spade. They only grew more intense when she killed his partner, Archer. And by the end, she’s so messed up Bogart’s insides that he almost considers doing time for her. Almost.

To be honest, I haven’t seen many Astor movies. They’re hard to find and many of them were lackluster, never talking full advantage of Astor’s formidable talents. She was a force to be reckoned with, on and off the screen. One of her earliest appearances was opposite Clark Gable in Red Dust, with Jean Harlow. I’ve got to tell you that Jean, though I love her, couldn’t hold a candle to Astor’s sexual attraction with hair slicked back and an animal stare than threatened to vanquish everyone in her sights.

Off-screen, Astor was a free-spirit and got into trouble with the powers that be and press for her sexual escapades. She wrote a sordid autobiography and was open about her sex life when such things were considered tawdry and unbecoming a lady. Mary was quick to call bullshit when she saw it and stood her ground. She had to. She made several movies opposite Bogart, Sidney Greenstreet and Peter Lorre – a tough crowd by any measure. But that’s what I love about Mary – she gave as good as she got.

Mary Astor should have been a much bigger star in my estimation. She had the beauty, brains and balls to take on any comers, and I only wish that I had met her – only to be vanquished immediately. of course!