Bogart’s first big role. A new genre of film. Huston’s directorial debut. The Pairing of Peter Lorre and Sydney Greenstreet.
American Film Institute Ranking: #23/100 Academy Awards: Three nominations and no wins in Best Picture, Supporting Actor and Adapted Screenplay categories. My Rating:
I’m going to be rather worthless on reviewing this film on the merits of being a good movie. I read “The Maltese Falcon” and enjoyed it so much that I decided to watch the movie — immediately after I had finished reading the book. It was a shorter novel, too, meaning it was all very fresh in my mind after just a few days of reading.
The movie was immensely faithful to book and the casting absolutely perfect. I cannot recall how I imagined the characters pre-movie: Humphrey Bogart, Peter Lorre, and Sydney Greenstreet will be how I remember them going forward.
American Film Institute Ranking: #97/100
Academy Awards: None
Director: Howard Hawks
What is comedy?
It’s a tricky question to answer and is the crux of my problem with this movie. What makes someone laugh: do you prefer witty, ridiculous, crass, situational, ironic, play-on-words, role reversals, self-depreciating, or some combination of the above? This movie has universal appeal with a resounding unison of positive reviews. This is quite different from how it was described at the time of its release, with phrases such as “box-office poison” and such a bomb that it threatened Hepburn’s film career with critics.
Somehow through syndication, this movie gained a steamroller of momentum and now is regarded as the quintessential screwball, romantic comedy that created an entire genre. I can’t help but agree with the original opinion. While the movie appealed to my love of wacky and imaginative, the delivery made this one of the most frustrating films I’ve ever watched.
American Film Institute Ranking: #17/100 Academy Awards: Nominated for four (Best Actor, Actress, Adapted Screenplay and Director) winning Best Actor for Humphrey Bogart (his only Academy Award). Director: John Houston My Rating:
“How can we put Humphrey Bogart and Katharine Hepburn in close proximity for a couple hours and let them work their magic?”
Enter the adapted screenplay by James Agee (who also wrote a top 100 book of all time “A Death in the Family” which I review here). The African Queen is an interesting movie just from the set up alone: about 90% of the movie involves the two main characters floating down a river in a steam boat with the entire focal point on their relationship. There is some window dressing to get them there, but none of it matters. What is important is that Humphrey and Katharine are stuck together and have to work through their differences. This movie explores the classic motif of mismatched lovers using stereotypical traits that are diametrically opposed (messy vs. clean, prude vs. crude, etc.). Thankfully, we have two power houses of Hollywood that end up pushing this ridiculous script along and somehow make a successful go at it.