Humphrey BogartKey Largo (1948)

One of the best movies ever.

A classic film noir, it features a great cast and a great storyline. Major Frank McCloud (Humphrey Bogart), a veteran of the Italian campaign in World War II, arrives at Hotel Largo in Key Largo, Florida in the Florida Keys after the war to visit the family of his friend George Temple (who died in the campaign). There he intended to visit George’s father James Temple (played by Lionel Barrymore) and his widow Nora Temple (played by Lauren Bacall).Complicating matters is the fact that a bunch of mobsters (or five mobsters and one friend) have rented the hotel, six people who claim at first to be there fishing but are really there for criminal activity. One of the six people is Edward G. Robinson’s character Johnny Rocco, a Capone-level notorious gangster who was exiled to Cuba and is trying to make a comeback in the United States. Also complicating matters is the fact that while all these people are in the hotel a hurricane strikes and a sheriff and a deputy keep coming around looking for two escaped prisoners (and running the risk of finding out far worse criminals are in that hotel).There was a lot to like about the film. Great tension and pacing, I liked the exploration of Johnny Rocco’s character, of him trying to recapture the lost glory of his powerful crime lord days during Prohibition, of being in obvious denial that that time has passed, that there isn’t money to be made in alcohol as there once was, that people don’t recognize him as they used to, and that the woman he loved, also at the hotel, is a washed up alcoholic (Gaye Dawn, played by Claire Trevor, in a surprisingly layered role with some strong acting). In fact all the gangsters seem to miss the Prohibition days.I also liked the exploration of Frank McCloud, that his stances on heroics and self-preservation are explored with regards to fighting Johnny Rocco. Does he fight Johnny because Johnny is a dangerous criminal? To save himself? Or to save others? It was interesting to see how Frank watched heroism in others, including from some surprising sources, and how this may have influenced him to act in the rest of the film. You don’t get a lot of Frank talking about his feelings but you see how he acts, how his stance on heroics appears to change as the film progresses, that it was never that he wasn’t a coward, it was more that he just didn’t care at first.There is a subplot with Native Americans that I found interesting. Mostly it is there to have a reason for the sheriff and deputy to be nosing around the hotel a lot, but there is some social commentary as well, subtle though in one brief scene at the end a bit more overt. It’s blink and you will miss it but it is there.Except for a few shots very early on the film is obviously on a soundstage. It isn’t bad but you can tell that isn’t the sea and they aren’t at the beach. Not distracting or anything, it was how things were done back then, but I wish they had filmed somewhere on location. Once the film is inside the hotel (which the bulk of the movie is) this is for me at least completely forgotten. One can also nitpick a little on the depiction of the hurricane but I think it was depicted in a way that served the plot.

And with this, I have finished the last of the Bogart-Bacall pairings. While it might not be at quite the level of the other three, or of John Huston's The Maltese Falcon, it is a very good film in its own right. Its two main stars take a bit of a backseat than before as this is more of an ensemble piece. To me, Edward G. Robinson really stood out in his role as a has-been gangster looking to make a comeback. Beyond that, everything was impeccable on a technical level, and Max Steiner's score contributed a lot to the atmosphere of foreboding. I've also lived through multiple Florida hurricane seasons and believe me, they're no joke. There also seemed to be an underpinning of sociopolitical commentary, but I can always suss that out when I watch it again. Overall, this put a nice bow on one of cinema's great partnerships.

Exciting movie, great acting and visual presentation.

The fourth & final pairing of Bogey & Bacall is a real treat. Also, it's another pairing for Bogey & Eddie G. but this time Bogey got the top billing. This Bogey & Bacall pairing doesn't smolder on screen like the earlier efforts though one would have to be blind not to see anything.The story mostly takes place at the Largo Hotel on Key Largo. The proprietor is James Temple (Lionel Barrymore) who's been confined to a wheelchair for reasons not specified. He's assisted by his daughter-in-law, Nora Temple (Lauren Bacall). The hotel has been taken over by some gangsters though we don't know who they are until later in the film. Frank McCloud (Humphrey Bogart) arrives on the scene via a bus. McCloud is a world war two veteran who's down on his luck. He's there at the request of Temple who wanted to know more about his son who had served with McCloud in Italy. The unseen Temple had been killed in action & they just want to know more about him before he was killed.There's tension the moment McCloud arrives at the hotel. The three men there, Curley (Thomas Gomez), Toots (Harry Lewis) & Angel (Dan Seymour), make it very plain that McCloud isn't wanted on the premises. Gaye Dawn (Claire Trevor in an Oscar winning performance) intercedes in his behalf so that he can get a drink. Dawn is the boozy girlfriend of Johnny Rocco (Edward G. Robinson) who's the leader of the gang.The tension is thick throughout this well made film. To further complicate things a hurricane is coming in. This causes the group of people to be isolated & shut in which only makes things worse.Rocco, who had been deported eight years earlier, is back in the country illegally. He's planning to return to Chicago to get back in the "business". He's got a large sum of counterfeit money & he's waiting for Ziggy ((Marc Lawrence) to come in from Miami to make the deal on the phony money. The hurricane plays havoc on this plan & Ziggy doesn't want to go down there. Rocco makes it plain that if he's not there in two hours the deal is off.Rocco is a tough & the tension between McCloud & himself is immediate. But Rocco is in control with his other gang members around. It's a typical role for Robinson but he does it with zeal. He's a big man who had been wronged by the government. He's going to return to Chicago & being bigger & badder than ever. But the hurricane changes things, we see Rocco realizing there's something even bigger & badder than him. We see his confidence melt away as the fury of the hurricane hit the hotel.Rocco convinces McCloud to return them to Cuba by boat. Everyone knows that McCloud isn't going to return from the trip. Gaye manages to get Rocco's gun from his coat pocket & slips it to McCloud before they depart. The scene on the boat where McCloud makes his play is a great one.Key Largo is presented in the full screen format & is in very good condition. The screenplay is by Richard Brooks & John Huston, Huston also is the director. There are a few extras such as cast & crew thumbnail sketches & trailer. There's a French audio track & subtitles in French & English.

Bogie and Robinson ...The only thing that could be better is if Cagney coulda made the show.It's a broody claustrophobic film, with the setting being mostly indoors.You'll not see the likes of John Huston or these actors again - Bacall is her usual excellence as well.The actors wear a lot of white in this - very shiek and very classy.While this may not be my favourite of anyone involved...It's a Top tier genere film in my book.Seen it several times.I'd give it ....8/10

I can watch Key Largo til the cows come home and have seen it at least half a dozen times. It's got some of the best elements from all the great film noir's, plus an amazing cast and an added "exotic" location.Like the claustrophobic and sweaty Deep South melodramas from Tennessee Williams and such, Key Largo has lashings of ripe and heated verbal conflict, kidnapping and colourful characters, complete with an impending hurricane, just to spice things up further.Whilst it might not have the iconic visuals, or classic lines of that other Bogart/John Huston classic 'The Maltese Falcon', Key Largo is actually easier to watch and easier to follow. And as with any film pairing the Hollywood Golden couple of Bogart & Bacall, it remains essential viewing for any self-respecting film lover.A run-down Florida hotel is taken over by a gang of thugs and their mobster boss, (an excellent, sociopathic Edward G Robinson, who reprises his mega sinister 'Little Caesar' role) and his pathetic alcoholic floozy, an Oscar-winning Claire Trevor. Wheelchair-bound James Temple, the Hotel owner, played by the reassuring Lionel Barrymore and his daughter, Nora, played by Lauren Bacall try to handle this assault on their personal freedom but it soon gets out of hand. She's the widow of a WW2 buddy of Humphrey Bogart's character, who died in action and who Bogart visits out of respect.Notorious 'public enemy', nasty criminal, Johnny Rocco, presumed dead by some and his cronies is making his escape with loads of loot in the Keys when the winds whip up and so they take refuge in the resort. There's a battle of wits, followed by a battle of guns, bombardment by crashing palm trees and ferocious storms and then a finally a mad rush to escape (again) with the concluding final battle of everything between Robinson and Bogart.It's all entertaining nonsense, really but with more than a dash of bravado and plenty of action toward the end. I think it's an overlooked, under-appreciated gem, far from perfect but one that still glints and continues to catch my eye.

The premise of Maxwell Anderson's tale has been used in a variety of different ways: a group of disparate people, brought together by a set of circumstances, more often than not, out of their control. The fact that the people involved here are Humphrey Bogart, Edward G Robinson, Lauren Bacall, Claire Trevor and Lionel Barrymore give this simple story a grittier edge than almost any other.Trapped, in an out-of-season Florida Keys hotel by an impending tropical storm, Robinson and his gang, posing as unlikely anglers, are joined by Bogart, who at first is made to feel unwelcome. Subsequent events make it clear why, and Bogart ends up saving the day, and getting the girl. A simplistic plot is given the deft touch by director John Huston, menace is conveyed in a very subtle way. The storm is handled well, the tension coming from within the hotel.There is an early appearance by Jay Silverheels, Tonto in The Lone Ranger, as an escaped convict. This is a powerful, dark, drama. If Film Noir is your thing, "Key Largo" is a must.

Reading the reviews for this film reminds me why I would never review a live, one-off performance of anything: so much depends upon one's own frame of mind (mood) at the time.I have watched "Key Largo" in this version three times over the space of as many years. It does not pal for me. I was impressed at the first viewing and I remain convinced by the film's integrity after the latest showing. Unlike another reviewer, I find both Bacall and Bogart fulfil their roles well. However, I would have to agree that Claire Trevor's performance is top grade. She is masterful in her portrayal of emotion through facial expression and body posture. She gives a similarly fine performance in a far lesser production "Born to Kill"  ] with Lawrence Tierney.Picture and sound of high quality.

I'm a big fan of this era of movies, especially film noir and crime and bogart and chief wiggum are brilliant in this, you just waiting for bogey to sort it all out in his brilliant understated manner great film