BOGART, Humphrey

Nationality: American. Born: Humphrey DeForest Bogart in New York City, 23 January 1899. Education: Attended Trinity School, New York; expelled from Philips Academy, Andover, Massachussetts. Family: Married 1) Helen Menken, 1926 (divorced 1927); 2) Mary Philips, 1928 (divorced 1938); 3) Mayo Methot, 1938 (divorced 1945); 4) the actress Lauren Bacall, 1945, son: Stephen Humphrey, daughter: Leslie Howard. Career: 1918–19—served in U.S. Navy; 1920–22—managed stage company owned by William S. Brady; performed various chores at Brady's New York film studio; 1922—began acting regularly on stage; 1930—film debut in short Broadway's Like That; 1930–35—minor film roles for various studios while continuing to work on stage; 1936—success of film version of The Petrified Forest led to long-term contract with Warner Brothers; 1947—protested against HUAC activities with actress wife Lauren Bacall and other celebrities. Awards: Best Actor Academy Award, for The African Queen, 1951. Died: Of cancer, in Hollywood, California, 14 January 1957.

Films as Actor:

1930

Broadway's Like That (Roth—short); Up the River (John Ford) (as Steve); A Devil with Women (Cummings) (as Tom Standish)

1931

Body and Soul (Santell) (as Jim Watson); Bad Sister (Henley) (as Valentine Corliss); A Holy Terror (Cummings) (as Steve Nash); Women of All Nations (Walsh) (as Stone)

1932

Love Affair (Freeland) (as Jim Leonard); Big City Blues (LeRoy) (as Adkins); Three on a Match (LeRoy) (as Ace)

1934

Midnight (Erskine) (as Garboni)

1936

The Petrified Forest (Mayo) (as Duke Mantee); Bullets orBallots (Keighley) (as Bugs Fenner); Two Against the World (McGann) (as Sherry Scott); China Clipper (Enright) (as Hap Stuart); Isle of Fury (McDonald) (as Val Stevens)

1937

Black Legion (Mayo) (as Frank Taylor); The Great O'Malley (Dieterle) (as John Phillips); Marked Woman (Lloyd Bacon) (as David Graham); Kid Galahad (Curtiz) (as Turkey Morgan); San Quentin (Lloyd Bacon) (as Joe "Red" Kennedy); Dead End (Wyler) (as Baby Face Martin); Stand-In (Garnett) (as Quintain)

1938

Swing Your Lady (Enright) (as Ed Hatch); Crime School (Seiler) (as Mark Braden); Men Are Such Fools (Berkeley) (as Harry Galleon); The Amazing Dr. Clitterhouse (Litvak) (as Rock Valentine); Racket Busters (Lloyd Bacon) (as Martin); Angels with Dirty Faces (Curtiz) (as James Frazier)

1939

King of the Underworld (Seiler) (as Joe Gurney); The Oklahoma Kid (Lloyd Bacon) (as Whip McCord); You Can't Get Away with Murder (Seiler) (as Frank Wilson); Dark Victory (Goulding) (as Michael O'Lery); The Roaring Twenties (Walsh) (as George Hally); The Return of Doctor X (Sherman) (as Dr. Marshall Cane)

1940

Invisible Stripes (Lloyd Bacon) (as Chuck Martin); Virginia City (Curtiz) (as John Murrell); It All Came True (Seiler) (as Grasselli); Brother Orchid (Lloyd Bacon) (as Jack Buck); They Drive By Night (The Road to Frisco) (Walsh) (as Paul Fabrini)

1941

The Maltese Falcon (Huston) (as Sam Spade); High Sierra (Walsh) (as Roy Earle); The Wagons Roll at Night (Enright) (as Nick Coster)

1942

All Through the Night (Sherman) (as Gloves Donahue); In This Our Life (Huston); The Big Shot (Seiler) (as Duke Berne); Across the Pacific (Huston) (as Rick Leland); Casablanca (Curtiz) (as Rick Blaine)

1943

Action in the North Atlantic (Lloyd Bacon) (as Joe Rossi); Thank Your Lucky Stars (David Butler); Sahara (Zoltan Korda) (as Sgt. Joe Gunn)

1944

Passage to Marseilles (Curtiz) (as Martac); To Have and Have Not (Hawks) (as Harry Morgan)

1945

Conflict (Bernhardt) (as Richard Mason)

1946

Two Guys from Milwaukee (David Butler); The Big Sleep (Hawks) (as Philip Marlowe)

1947

Dead Reckoning (Cromwell) (as Rip Murdock); The Two Mrs. Carrolls (Godfrey) (as Geoffrey Carroll); Dark Passage (Daves) (as Vincent Parry); Always Together (de Cordova)

1948

The Treasure of the Sierra Madre (Huston) (as Fred C. Dobbs); Key Largo (Huston) (as Frank McCloud)

1949

Knock on Any Door (Nicholas Ray) (as Andrew Martin);Tokyo Joe (Heisler) (as Joe Barrett)

1950

Chain Lightning (Heisler) (as Matt Brennan); In a Lonely Place (Nicholas Ray) (as Dixon Steele)

1951

The Enforcer (Windust, uncredited Raoul Walsh) (as Martin Ferguson); Sirocco (Bernhardt) (as Harry Smith)

1952

The African Queen (Huston) (as Charlie Allnut); Deadline— U.S.A. (Richard Brooks) (as Ed Hutcheson); The Road to Bali (Walker) (as himself)

1953

Battle Circus (Richard Brooks) (as Major Jeb Webbe); Beat the Devil (Huston) (as Billy Danreuther)

1954

The Love Lottery (Charles Crichton); The Caine Mutiny (Dmytryk) (as Captain Queeg); A Star Is Born (Cukor) (voice only); Sabrina (Wilder) (as Linus Larabee); The Barefoot Contessa (Joseph L. Mankiewicz) (as Harry Dawes)

1955

We're No Angels (Curtiz) (as Joseph); The Left Hand of God (Dymytryk) (as Jim Carmady); The Desperate Hours (Wyler) (as Glen Griffin)

1956

The Harder They Fall (Robson) (as Eddie Willis)

Publications

On BOGART: books—

Gehman, Richard, Bogart, Greenwich, Connecticut, 1965.

Goodman, Ezra, Bogey: The Good-Bad Guy, New York, 1965.

McCarty, Clifford, Bogey: The Films of Humphrey Bogart, New York, 1965.

Michael, Paul, Humphrey Bogart: The Man and His Films, Indianapolis, 1965.

Ruddy, Jonah, and Jonathan Hill, The Bogey Man: Portrait of a Legend, London, 1965.

Hyams, John, Bogie, New York, 1966.

Huston, John, An Open Book, New York, 1972.

Barbour, Alan, Humphrey Bogart, New York, 1973.

Benchley, Nathaniel, Humphrey Bogart, Boston, 1975.

Eyles, Allen, Bogart, New York, 1975.

Hyams, Joe, Bogart and Bacall, New York, 1975.

Bacall, Lauren, Lauren Bacall by Myself, New York, 1978.

Screen Greats, Volume III: Bogart, New York, 1980.

Cutterland, Frank, Humphrey Bogart, Paris, 1981.

Pettigrew, Terence, Bogart: A Definitive Study of His Film Career, London, 1981.

Brooks, Louise, Lulu in Hollywood, New York, 1982.

Winkler, Willi, Humphrey Bogart und Hollywoods Schwarze Serie, Munich, 1985.

Fuchs, Wolfgang J., Humphrey Bogart: Cult-Star: A Documentation, Berlin, 1987.

Coe, Jonathan, Humphrey Bogart: Take It & Like It, New York, 1991.

Sklar, Robert, City Boys: Cagney, Bogart, Garfield, Princeton, New Jersey, 1992.

Stuart, Gloria, Boating with Bogart, Los Angeles, 1993.

Bogart, Stephen Humphrey, with Gary Provost, Bogart: In Search of My Father, New York, 1995.

Bogart, Stephen Humphery, Bogart, New York, 1995.

Baxt, George, The Humphrey Bogart Murder Case, West Seneca, 1996.

Lax, Eric, Bogart, New York, 1997.

Meyers, Jeffrey, Bogart: A Life in Hollywood, New York, 1997.

Sperber, A.M., Bogart, New York, 1997.

Schlesinger, Judith, Bogie: A Life in Pictures, New York, 1998.

Duchovnay, Gerald, Humphrey Bogart: A Bio-Bibliography, Westport, 1999.

On BOGART: articles—

Current Biography 1942, New York, 1942.

Obituary in New York Times, 15 January 1957.

McCarty, Clifford, "Humphrey Bogart 1899–1957," in Films in Review (New York), May 1957.

Cooke, Alistair, "Epitaph for a Tough Guy," in Atlantic (Greenwich, Connecticut), May 1957.

Towne, Robert, "Bogart and Belmondo," in Cinema (Beverly Hills), December 1965.

Brooks, Louise, "Humphrey and Bogey," in Sight and Sound (London), Winter 1966–67.

Davis, Paxton, "Bogart, Hawks, and The Big Sleep Revisited—Frequently," in Film Journal (New York), Summer 1971.

"Humphrey Bogart," in Lumière du cinéma (Paris), March 1977.

Mellen, Joan, "Humphrey Bogart: Moral Tough Guy," in Close-Ups: The Movie Star Book, edited by Danny Peary, New York, 1978.

Sarris, Andrew, "Humphrey Bogart," in The Movie Star, edited by Elisabeth Weis, New York, 1981.

Schickel, Richard, "Bogart," in Film Comment (New York), May/June 1986.

Talty, Stephen, "Young Bogart," in American Film (Washington, D.C.), April 1991.

Fagen, Herb, "Remembering Bogie," in Filmfax (Evanston), August-September 1992.

Radio Times (London), 26 October 1996.

Humphrey Bogart had a privileged upbringing in Manhattan, the son of a noted surgeon; later, he had to leave college for disciplinary reasons. He served during World War I in the Navy, and suffered an injury during shelling which slightly paralyzed his upper lip, giving him the tight-lipped appearance and the suggestion of hesitancy in his speech that became the hallmark of his screen persona. After the war, he worked in the theater, first as a junior in stage management and later as a performer in youthful, romantic parts. A celebrated review by Alexander Woolcott in 1922 described him in a play called Swiftly as "inadequate." Nevertheless, during the 1920s he remained in employment, and he had the pertinacity to go to Hollywood when sound required the participation of new, stage-trained performers from Broadway. He constantly returned to the stage when he was dissatisfied with the supporting roles he was given in such films as A Devil with Women, Body and Soul, and Love Affair. The first role characteristic of his future image was in the theater production of Robert E. Sherwood's semipoetic play The Petrified Forest (1935), which the following year was made into a film by Warner Brothers. Warners intended to give Bogart's part—the gangster, Duke Mantee—to Edward G. Robinson. That Bogart got the part had to do with the intervention of Leslie Howard, who played the lead in both the play and the film; Howard insisted that Bogart reappear as Duke Mantee. 1936, therefore, marked the first appearance in film of the gaunt, sinister, slow-speaking Bogart persona. Fortunately, the film was successful and drew favorable critical attention.

Bogart was not, however, to become a charismatic star immediately, though he appeared, normally in a gangster role, in an endless flow of films during the next five years, from San Quentin, Crime School, and Racket Busters to Angels with Dirty Faces, King of the Underworld, and The Roaring Twenties. The Bogart image was very marked in William Wyler's Dead End in which he played a ruthless, cynical gangster rejected alike by his mother and his former girlfriend on his return to the New York slums in which he had been raised. This was followed in 1941 by Raoul Walsh's High Sierra with an exceptional script by John Huston and performance by Bogart as the aging, disillusioned gangster who has a change of heart. The devotion to "Bogey" was born of such later films as Huston's The Maltese Falcon, with Bogart as the ruthless but basically human Sam Spade; Michael Curtiz's Oscar-winning Casablanca, again with Bogart as the rough-surfaced but vulnerable dark horse; and Howard Hawks's two films To Have and Have Not—Lauren Bacall's film debut—and The Big Sleep, also with Bacall and with Bogart playing a private eye with a heart. Bogart's celebrated romance with Bacall led to her becoming his fourth wife.

Bogart's widening range of characters (which added to his stature as an actor, while increasing the impact of his always recognizable personal style and image) expanded notably under Huston in The Treasure of the Sierra Madre, Key Largo, and The African Queen (the latter gaining him an Oscar); in Nicholas Ray's In a Lonely Place; in Richard Brooks's serious story with a newspaper setting, Deadline; and Edward Dmytryk's The Caine Mutiny, in which he gave one of his finest performances as the paranoid Captain Queeg. He returned to his former gangster role in William Wyler's The Desperate Hours, and in his last appearance before his premature death in 1957, in Mark Robson's The Harder They Fall, he played a worn-out sportswriter in the more cynical mood of earlier films.

As Joan Mellen calls Bogart the epitome of a "moral tough guy," his stardom, considerably shorter than actors such as Cary Grant and Gary Cooper, also presents an irony that none of the other stars of his generation "remains such a lively presence in our imaginations." Indeed, as Richard Schickel continues to remind us "it is worth lingering at that crossroads and contemplating the evidence about who he was and what he was that was left there in plain sight." Throughout his career till his death and onward for almost four decades now, the Bogart image and the sense of integrity and courage that image carries prevail at the center of American film history.

—Roger Manvell, updated by Guo-Juin Hong

BOGART, HUMPHREY 1899-1957

Actor

Unlikely Origins

He made his name as a sensitive tough guy on the screen. He came to define an everyman sensibility and cynicism with his edgy, slightly slurred urban delivery. In the 1940s and early 1950s he was among Hollywood's biggest box-office stars. But Humphrey Bogart's origins belie the screen persona he was to become. He was born into affluence on Riverside Drive in New York City. His mother, Maud Humphrey, was a well-known illustrator. Her "Maud Humphrey Baby" became a popular figure in advertising. The portrait was of the infant Humphrey Bogart. Bogart attended Trinity School in New York City and the prestigious Phillips Academy in Andover, Massachusetts. He was a poor student and left the school early to join the navy. He reported to the USS Leviathan in October 1918, and World War I ended sixteen days later. In June 1919 Bogart was discharged. The navy gave him one thing—his distinctive speech. While serving as a military policeman, he was hit in the mouth with handcuffs by a prisoner attempting escape. The blow left a scar and the slight slur that would be imitated worldwide by the 1940s.

Struggling on Stage

Out of the navy, Bogart procured work in odd jobs and on the stock exchange. A family friend, William Brady, helped Bogart become involved in the New York stage. He appeared briefly in Drifting (1922) and then took the lead in a comedy called Swifty (1922). He spent the next five years alternating successes, such as Cradle Snatchers (1925), with disasters such as Baby Mine (1927). He also began drinking and married twice. He appeared on film for the first time in 1929 in a ten-minute Warner Bros. Vitaphone Corporation production called Broadway's Like That, which featured Joan Blondell.

Struggling on Film

One year later he signed with Fox Studios and began an undistinguished run as a supporting actor. He drifted back and forth from Hollywood to New York looking for stage and screen work. He filmed Up the River (1930) with Spencer Tracy. Within a decade both would be legendary. Tracy coined the name "Bogie," which Humphrey came to prefer. Despite steady work Bogart was in dire straits financially. His father died, leaving Humphrey in debt. Bogart began drinking heavily and hit the bottom of his career in 1934. That year, however, while appearing in Invitation to Murder, an undistinguished stage mystery, he was spotted by Arthur Hopkins, who decided to cast Bogart in The Petrified Forest, a Robert Sherwood play about random murder in an Arizona cafe. Bogart played Duke Mantee, a brooding, suicidal killer, and gained recognition for the role in 1935.

Stability

The star of The Petrified Forest, Leslie Howard, insisted that Bogart be given the same role in the screen production. Warner complied with the demand and thus affirmed Bogart's film appeal. He signed with Warner and became a staple of the gangster films of the 1930s as one of the "tough guys," along with Edward G. Robinson, George Raft, and James Cagney. For four years Bogart appeared in films such as Bullets or Ballots (1936), Angels With Dirty Faces (1938), and Brother Orchid (1940). This period peaked in 1941 with High Sierra, in which Bogart played a killer but also displayed the tragic tenderness that lay beneath the tough figures he would play.

"Bogie" Arrives

The Humphrey Bogart of legend arrived in 1941 as Sam Spade in John Huston's The Maltese Falcon, based on Dashiell Hammett's novel. George Raft had turned down the part, seeing it as not important enough. Bogart was ambivalent but took the role. The Studio considered it a B movie. Bogart and Huston made it a hit, and it is often considered the first legitimate film noir movie. Bogart played Sam Spade, a tough private eye with a tender, not completely cynical style. He had played tough guys for years but was beginning to explore the underlying idealism of the roles. His exploration of this character type reached its peak in Casablanca, filmed in 1942. Bogart's Rick, the tough, cynical, bitter idealist, is the strongest statement of the Bogart role. He was nominated for an Academy Award for the picture and throughout the 1940s was among the top five box-office draws.

Versatility

In 1944, with his third marriage on the rocks, Bogart filmed To Have and Have Not. The film marked Lauren Bacall's screen debut, and she and Bogart promptly fell in love, creating one of Hollywood's most famous romances. She was nineteen, and he was forty-five. They were married in 1945 and had two children. In 1947 he traveled to Washington, D.C., to show support for the Hollywood Ten, who were testifying before the House Un-American Activities Committee. Bogart's most versatile acting followed the war years. He began branching out into more-complex roles. He again teamed with Huston in The Treasure of the Sierra Madre (1948) in which he played a man driven mad with greed. In 1957 he teamed with Katharine Hepburn in The African Queen and won an Academy Award for his role as the drunken and comedic Charlie Allnut. The Caine Mutiny followed in 1954 with one of his greatest roles. He filmed The Harder They Fall in 1956, but he was already showing the effects of cancer. On 14 January 1957 Humphrey Bogart died, leaving behind a distinguished body of film work and one of the greatest of Hollywood's legends.

Source:

Jonathan Coe, Humphrey Bogart: Take It and Like It (New York: Grove Weidenfeld, 1991).

Humphrey Bogart

The American stage and screen actor, Humphrey Bogart (1899-1957), was one of Hollywood's most durable stars and a performer of considerable skill, subtlety, and individuality.

Humphrey Deforest Bogart was born on January 23, 1899, in New York City to Deforest Bogart, a surgeon, and Maud Humphrey Bogart, an illustrator. He attended several private schools, but performed poorly and was expelled at one point. Bogart spent several years with the U.S. Navy and worked briefly as a Wall Street clerk before entering the competitive world of Broadway theater. After a considerable struggle he achieved stature with his two most important stage appearances: in Maxwell Anderson's comedy Saturday's Children and Robert E. Sherwood's gangster morality play, The Petrified Forest. His characterization of the psychotic killer, Duke Mantee, in the latter, as well as in the popular film version with Bette Davis and Leslie Howard, led to typecasting him as a mobster in such movies as Dead End (1937), Angels with Dirty Faces (1938), and The Roaring Twenties (1940).

Achieved Star Status with Classic Films

Not until his performance as the cold, uncommitted private detective, Sam Spade, in John Huston's adaptation of Dashiell Hammett's The Maltese Falcon (1941), did Bogart reveal his potential as a screen personality. He projected, as one critic remarked, "that ambiguous mixture of avarice and honor, sexuality and fear." His co-starring role with Ingrid Bergman as Rick Blaine in Michael Curtiz's war drama Casablanca (1943) added to his legend and led to his first Academy Award nomination. He lost, but the film won Best Picture honors. To Have and Have Not (1944), Hemingway's novel of the Depression transformed into a comedy of social consciousness by William Faulkner and Howard Hawks, cast Bogart with Lauren Bacall. The following year Bogart divorced his third wife and the two stars married; they had two children.

Although Bogart appeared in several poor movies, most of his films were above the standard Hollywood level, and The Treasure of Sierra Madre (1948) may be one of the greatest films ever released. His best motion pictures of the 1940s include Sahara (1943), a realistic World War II drama; The Big Sleep (1946), Hawks's sophisticated detective thriller based on the Raymond Chandler novel; and Key Largo (1948), Huston's toughened filming of the Maxwell Anderson play. Of Bogart's portrayal of the pathetic psychopath in Huston's study of human greed, The Treasure of Sierra Madre, Pauline Kael wrote, "In a brilliant characterization, Humphrey Bogart takes the tough-guy role to its psychological limits—the man who stands alone goes from depravity through paranoia to total disintegration." What in Duke Mantee was mere melodramatic villainy had been transformed into grim psychological reality. In a very different film, the Huston/James Agee adventure comedy, The African Queen (1951), Bogart won an Academy Award for his humorously expressive depiction of the earthy, ginguzzling skipper who brings life to a straight-laced Katharine Hepburn.

In Joseph L. Mankiewicz's Hollywood exposé The Barefoot Contessa (1953), Bogart gave depth to his role as a shattered, alcoholic film director. In Beat the Devil (1954), he portrayed a disreputable adventurer. The Caine Mutiny (1954) provided Bogart with one of his finest roles, as the deranged Captain Queeg. In his last film Bogart gave a strong performance as an investigator of sports corruption in the sharp-edged boxing drama The Harder They Fall (1956). A year later, after a long struggle with throat cancer, he died in Hollywood. At his funeral, Bogart's long-time friend Huston paid him tribute: "He is quite unreplaceable. There will never be anybody like him."

Further Reading

Katz, Ephraim. The Film Encyclopedia (1979).

Sennet, Ted. Warner Brothers Presents (1971). □

Humphrey DeForest Bogart , 1899–1957, American film actor, b. New York City. After a succession of stage roles he achieved note with his portrayal of the gangster Duke Mantee in The Petrified Forest (1934). He was in films after 1930 but it was the re-creation (1936) of that role that brought him fame, and thereafter followed a succession of notable performances in The Maltese Falcon (1941), Casablanca (1942), To Have and Have Not (1944), The Big Sleep (1946), Treasure of the Sierra Madre and Key Largo (1948), and The Caine Mutiny (1954). He became famous for portrayals of tender-hearted heroes with tough and cynical exteriors. In 1952 he won an Academy Award for The African Queen.

Bibliography: See S. H. Bogart, Bogart: In Search of My Father (1995); biographies by A. M. Sperber and E. Lax (1997), J. Meyer (1997), and S. Kanfer (2011).

Bogart, Humphrey DeForest (1899–1957) Legendary US film actor, often cast as a cynical, wisecracking anti-hero. In 1941, an association with film noir and John Huston began with roles in High Sierra and The Maltese Falcon. He starred in Casablanca (1942). In 1945 he married Lauren Bacall; their sexual magnetism was evident in the film noir classic The Big Sleep (1946). In 1948 Bogart starred in another two Huston classics, The Treasure of the Sierra Madre and Key Largo. He won a best actor Oscar for The African Queen (1951).