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Humphrey Bogart

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Channon
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« Reply #15 on: July 06, 2014, 03:41:35 am »

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."[78] The film holds a rare niche in Hollywood history as having been completed and slated for release in 1945, then withdrawn and substantially re-edited with new, juiced-up scenes added to better exploit the box office chemistry that shone between Bogie and Bacall in To Have and Have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, restored and released it in 1996.[79]
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.[80] Reportedly, Chandler himself could not answer the question of 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 for which he was blamed 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.
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« Reply #16 on: July 06, 2014, 03:41:49 am »

Final marriage

Bogart filed for divorce from Methot in February 1945. He and Bacall 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.[47]

Bogart and Bacall moved into a $160,000 (equal to $2,095,970 today) 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, which made her seasick.[81] Bogart's drinking sometimes inflamed tensions.[82]

Bogart became a father at age 49 when Bacall gave birth to Stephen (Steve) Humphrey Bogart on January 6, 1949, during the filming of Tokyo Joe. Bogart told Tokyo Joe's screenwriter, Steve Fisher, "Don’t get any stupid ideas. It just happens to fit."[83] Stephen was actually named after Bogart's character's nickname in To Have and Have Not.[84] Stephen would go on to become an author and biographer, later hosting a television special about his father on Turner Classic Movies. Their daughter, Leslie Howard Bogart, was born on August 23, 1952 and named after British actor Leslie Howard, his co-star in The Petrified Forest.[47]
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« Reply #17 on: July 06, 2014, 03:42:04 am »

Later career

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.[70]
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 Mexico. Without 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]
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« Reply #18 on: July 06, 2014, 03:42:21 am »

House Un-American Activities Committee

Bogart, a liberal Democrat,[91] organized a delegation to Washington, D.C., called the Committee for the First Amendment, against what he perceived to be 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

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 freelancing 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 its films 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). Santana made two other films without him: And Baby Makes Three (1949) and The Family Secret (1951).

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]
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« Reply #19 on: July 06, 2014, 03:42:47 am »

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]
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« Reply #20 on: July 06, 2014, 03:43:05 am »

Final roles

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, Gardner credited Bogart 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 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.[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.
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« Reply #21 on: July 06, 2014, 03:43:32 am »

Television and radio work
Bacall, Bogart and Henry Fonda in the television version of The Petrified Forest

Bogart rarely appeared on television. However, he and Bacall appeared on Edward R. Murrow's Person to Person in which they disagreed in answering every question. 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 live adaptation of The Petrified Forest for Producers' Showcase, with Bogart receiving top billing and Henry Fonda playing Leslie Howard's role; 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.
Post-death Productions

Bogart's image was digitally inserted as the main character in the television episode "You, Murderer" (1995) as one of many references to Casablanca. The character representing Ingrid Bergman was not inserted digitally but instead played by her daughter Isabella Rossellini.
The Rat Pack

Bogart was a founding member and the original leader, until his death, 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]
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« Reply #22 on: July 06, 2014, 03:44:10 am »

Death

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.[47] 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 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, Judy Garland, David Niven, Ronald Reagan, James Mason, Bette Davis, Danny Kaye, Joan Fontaine, Marlene Dietrich, James Cagney, 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 once part of a charm bracelet he had given to Lauren Bacall before they married. It was inscribed with a quote from their first movie together: "If you want anything, just whistle."[124]

The probate value of Bogart's estate was $910,146 gross; $737,668 was the final estate value.[12
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« Reply #23 on: July 06, 2014, 03:44:27 am »

Legacy and tributes
Bogart, Cagney and Jeffrey Lynn in The Roaring Twenties

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 Bogart 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

On August 21, 1946, 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, Bogart was nominated for several awards including the BAFTA award for best foreign actor in 1952 for The African Queen and three Academy Awards.
Academy Awards Year    Award    Film    y/n
1943    Best Actor    Casablanca    Nominated
1951    Best Actor    The African Queen    Won
1954    Best Actor    The Caine Mutiny    Nominated
In A Lonely Place with Gloria Grahame

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.[126] 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."[127]

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.[128]
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« Reply #24 on: July 06, 2014, 03:44:56 am »

In popular culture

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.[129]
        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.[130]
    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.[131]
    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.[132]
    The Man with Bogart's Face (1981) was an homage to Bogart and starred Bogart lookalike Robert Sacchi.[133]
    The slang term "bogarting" refers to taking an unfairly long time with a shared marijuana joint. Allegedly, it derives from Bogart's style of cigarette smoking, leaving his cigarette dangling from his mouth between puffs.[134] * A 1968 song Don't Bogart Me (also known as Don't Bogart That Joint) by U.S. band Fraternity of Man became popular in counterculture through its inclusion in the soundtrack of the 1969 film Easy Rider. "Bogart" can also refer to coercion or bullying in African American slang[135]
    The Bertie Higgins 1981 hit "Key Largo" recalls the famous love affair and features the chorus "We had it all, just like Bogie and Bacall." It has lines from "Casablanca" too, "Here's looking at you, kid."
    Bogart outtakes (mostly from The Big Sleep) play a small but critical role in Carl Reiner's 1982 comedy-mystery film, Dead Men Don't Wear Plaid.
    2HB is a song written by Bryan Ferry and first recorded by Roxy Music for their 1972 debut album, Roxy Music. Ferry also recorded a version for his 1976 solo album, Let's Stick Together. The title is a pun, not about the European nomenclature of pencil leads, but a dedication to Bogart ("2HB" = "to Humphrey Bogart"). In particular, the song references "Casablanca", including the line "Here's looking at you kid, hard to forget".
    In the popular anime, Dragon Ball Z episode number 93, The Heavens Tremble, Krillin is seen dressed up and talking like Humphrey Bogart

Quotations
   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: "Louie, 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
Main article: Humphrey Bogart filmography
See also
Book icon    

    Book: Humphrey Bogart

    Bogart–Bacall syndrome
    List of famous amateur chess players

References
Notes

    The 1900 census for the household of Belmont Bogart lists his son Humphrey as having a birth date in December 1899. There are also three different censuses attesting to his birth date in December 1899. His last wife, actress Lauren Bacall, always maintained that December 25 was his true birth date.[8]

Citations

    Ontario County Times birth announcement, January 10, 1900.
    Birthday of Reckoning.
    Obituary Variety, January 16, 1957.
    Sragow, Michael. "Spring Films/Revivals; How One Role Made Bogart Into an Icon." The New York Times, January 16, 2000. Retrieved: February 22, 2009.
    "100 Icons of the Century – Humphrey Bogart." Variety, October 16, 2005. Retrieved: February 22, 2009.
    Meyers 1997, p. 5.
    "The religious affiliation of Humphrey Bogart". Adherents.com. Retrieved: January 25, 2011.
    "Bogart: Urban Legends". bogart-tribute.net. Retrieved: January 25, 2011.
    Meyers 1997, pp. 6–7.
    Meyers 1997, p. 8.
    Meyers 1997, p. 6.
    Meyers 1997, pp. 10–11.
    Meyers 1997, pp. 9–10.
    Meyers 1997, p. 9.
    Meyers 1997, p. 22.
    Hyams 1975, p. 12.
    Meyers 1997, p. 13.
    Wallechinsky and Wallace 2005, p. 9.
    Meyers 1997, pp. 18–19.
    Meyers 1997, p. 19.
    Sperber and Lax 1997, p. 27.
    Citro, Sceurman, Mark and Moran 2005, pp. 240–241.
    Meyers 1997, p. 29.
    Sperber and Lax 1997, p. 28.
    Meyers 1997, pp. 22, 31.
    Meyers 1997, p. 23.
    Meyers 1997, pp. 24, 31.
    Sperber and Lax 1997, pp. 29–31.
    Sperber and Lax 1997, p. 35.
    Humphrey Bogart at the Internet Broadway Database.
    Meyers 1997, p. 28.
    Time Magazine, June 7, 1954.
    Sperber and Lax 1997, p. 33.
    Sperber and Lax 1997, p. 36.
    Sperber and Lax 1997, pp. 39–39.
    "letter from Bogart to John Huston," displayed in documentary John Huston: The Man, the Movies, the Maverick (1989).
    Meyers 1997, p. 41.
    Sperber and Lax 1997, p. 41.
    Meyers 1997, p. 48.
    Sperber and Lax 1997, p. 45.
    Meyers 1997, p. 49.
    Meyers 1997, p. 51.
    Sperber and Lax 1997, p. 46.
    Meyers 1997, p. 52.
    Sperber and Lax 1997, pp. 52–54.
    Sperber and Lax 1997, p. 57.
    Shickel 2006, p. 161.
    Sperber and Lax 1997, pp. 60–61.
    Meyers 1997, p. 56.
    Meyers 1997, p. 54.
    Meyers 1997, p. 69.
    Meyers 1997, p. 67.
    Lax, Eric. Audio commentary for Disc One of the 2006 three-disc DVD special edition of The Maltese Falcon.
    Sperber and Lax 1997, pp. 62–63.
    Meyers 1997, pp. 78, 91–92.
    Meyers 1997, p. 81.
    Interview with John Huston.
    Meyers 1997, p. 76.
    Meyers 1997, pp. 86–87
    Sperber and Lax 1997, p. 119.
    Sperber and Lax 1997, p. 128.
    Sperber and Lax 1997, p. 127.
    Meyers 1997, p. 115.
    Meyers 1997, p. 123.
    Meyers 1997, p. 125.
    Meyers 1997, p. 131.
    Sperber and Lax 1997, p. 198.
    Sperber and Lax 1997, p. 201.
    Sperber and Lax 1997, p. 196.
    Meyers 1997, p. 151.
    Meyers 1997, p. 166.
    Meyers 1997, p. 165.
    Sperber and Lax 1997, p. 258.
    Meyers 1997, pp. 166–167.
    Meyers 1997, pp. 173–174.
    Sperber and Lax 1997, pp. 263–264.
    Meyers 1997, p. 168.
    Sperber and Lax 1997, p. 289.
    UCLA Film & Television Archive 8th Annual Festival of Preservation Program June 27, 1996.
    Meyers 1997, p. 180.
    Meyers 1997, p. 185.
    Meyers 1997, pp. 188–191.
    Fisher, Steve. "Play It Again, Sam Spade." The Armchair Detective, January 1972.
    Sperber and Lax 1997, p. 422.
    Sperber and Lax 1997, p. 214.
    Meyers 1997, p. 164.
    Sperber and Lax 1997, p. 337.
    Sperber and Lax 1997, p. 343.
    Meyers 1997, p. 227.
    Meyers 1997, pp. 229–230.
    Porter 2003, p. 9.
    Bogart, Humphrey. "I'm No Communist." Photoplay, March 1948.
    Meyers 1997, p. 236.
    Meyers 1997, p. 235.
    In a Lonely Place at Rotten Tomatoes
    Meyers 1997, pp. 240–241.
    Sperber and Lax 1997, p. 471.
    Meyers 1997, p. 243.
    Sperber and Lax 1997, p. 439.
    Meyers 1997, p. 248.
    Meyers 1997, p. 249.
    Sperber and Lax 1997, p. 444.
    Sperber and Lax 1997, p. 447.
    Sperber and Lax 1997, pp. 444–445.
    Meyers 1997, p. 258.
    Meyers 1997, pp. 259–260.
    Sperber and Lax 1997, p. 480.
    Meyers 1997, pp. 279–280.
    Meyers 1997, p. 281.
    Meyers 1997, p. 283.
    Sperber and Lax 1997, p. 495.
    Meyers 1997, pp. 288–290.
    Meyers 1997, pp. 291–292.
    "Gene Tierney: A Shattered Portrait". The Biography Channel. Airdate: March 26, 1999.
    Tierney and Herskowitz 1978, pp. 164–165.
    Meyers 1997, p. 294.
    Sperber and Lax 1997, p. 504.
    Sperber and Lax 1997, p. 430.
    Sperber and Lax 1997, pp. 509–510.
    Sperber and Lax 1997, p. 510.
    Bacall 1978, p. 273.
    Sperber and Lax 1997, p. 516.
    Sperber and Lax 1997, p. 518.
    Meyers 1997, p. 315.
    Mendel, Stephen A. "Famous Estates – Legacy Champ or Chump?: Humphrey Bogart (1899–1957) – Actor." Mendel Estate Planning, August 3, 2012. Retrieved: July 4, 2013.
    Selligman, Craig. "New Humphrey Bogart bio a superficial effort: USPS Humphrey Bogart Legends of Hollywood Stamp." reuters.com, February 22, 2011. Retrieved: March 19, 2011.
    Kanfer 2011, p. 248.
    Kanfer 2011, p. 249.
    "Slick Hare." Big Cartoon Database. Retrieved: January 25, 2011.
    "8 Ball Bunny." revver.com. Retrieved: January 25, 2011.
    Dirks, Tim. "Play It Again, Sam (1972) ." filmsite.org. Retrieved: January 25, 2011.
    "Don Newton: Fan to Pro." Comic Book Fanzines: Chain Letters for Disturbed Children: A tribute to the early days of comic book fandom and the fanzines that kept them informed, September 3, 2010. Retrieved: January 25, 2011.
    Null, Christopher. "The Man With Bogart's Face." filmcritic.com, May 17, 2000. Retrieved: January 25, 2011.
    "Bogart." Oxford English Dictionary, 2nd edition via wordorigins.org. Retrieved: January 25, 2011.
    Tung, Angela. "Mad Men Soup: 15 Groovy words from Season 6." wordnik.com, June 19, 2013. Retrieved: July 4, 2013.
    Shapiro, Fred R. "Movie Misquotations." The New York Times Magazine, January 15, 2010.

Bibliography

    Bacall, Lauren. By Myself. New York: Alfred Knopf, 1979. ISBN 0-394-41308-3.
    Bogart, Stephen Humphrey. Bogart: In Search of My Father. New York: Dutton, 1995. ISBN 0-525-93987-3.
    Bogart, Humphrey. "I'm no communist," Photoplay Magazine, March 1948.
    Citro, Joseph A., Mark Sceurman and Mark Moran.Weird New England. New York: Sterling, 2005. ISBN 1-4027-3330-5.
    Halliwell, Leslie. Halliwell's Film, Video and DVD Guide. New York: Harper Collins Entertainment, 2004. ISBN 0-00-719081-6.
    Hepburn, Katharine. The Making of the African Queen. New York: Alfred Knopf, 1987. ISBN 0-394-56272-0.
    Hill, Jonathan and Jonah Ruddy. Bogart: The Man and the Legend. London: Mayflower-Dell, 1966.
    "Humphrey Bogart (cover story)." Time Magazine, June 7, 1954.
    Hyams, Joe. Bogart and Bacall: A Love Story. New York: David McKay Co., Inc., 1975. ISBN 0-446-91228-X.
    Hyams, Joe. Bogie: The Biography of Humphrey Bogart. New York: New American Library, 1966 (later editions renamed as: Bogie: The Definitive Biography of Humphrey Bogart). ISBN 0-451-09189-2.
    Kanfer, Stefan. Tough Without A Gun: The Life and Extraordinary Afterlife of Humphrey Bogart. New York: Knopf, 2011. ISBN 978-0-307-27100-6.
    Meyers, Jeffrey. Bogart: a Life in Hollywood. London: Deutsch, 1997. ISBN 0-233-99144-1.
    Michael, Paul. Humphrey Bogart: The Man and his Films. New York: Bonanza Books, 1965. No ISBN.
    Porter, Darwin. The Secret Life of Humphrey Bogart: The Early Years (1899–1931). New York: Georgia Literary Association, 2003. ISBN 0-9668030-5-1.
    Pym, John, ed. "Time Out" Film Guide. London: Time Out Group Ltd., 2004. ISBN 1-904978-21-5.
    Shickel, Richard. Bogie: A Celebration of the Life and Films of Humphrey Bogart. New York : Thomas Dunne Books/St. Martin's Press, 2006. ISBN 978-0-312-36629-2.
    Sperber, A.M. and Eric Lax. Bogart. New York: William Morrow & Co., 1997. ISBN 0-688-07539-8.
    Tierney, Gene with Mickey Herskowitz. Self-Portrait. New York: Peter Wyden, 1979. ISBN 0-88326-152-9.
    Wallechinsky, David and Amy Wallace. The New Book of Lists. Edinburgh, Scotland: Canongate, 2005. ISBN 1-84195-719-4.
    Wise, James. Stars in Blue: Movie Actors in America's Sea Services. Annapolis, Maryland: Naval Institute Press, 1997. ISBN 1-5-5750-937-9. OCLC 36824724
    Youngkin, Stephen D. The Lost One: A Life of Peter Lorre. Lexington, Kentucky: University Press of Kentucky, 2005, ISBN 0-8131-2360-7.

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