John Hodson
Senior HTF Member
I've thought.
Nooooooooooooooooooooooooooooooooooooo!
I've thought.
Nooooooooooooooooooooooooooooooooooooo!
I may be being picky here, but I hope you meant "should have been cut". Saying a film should have been different, that is your (and anybody's) perogative. But saying that the film should now be altered...oh my, no no no. People get into conniptions over the slightest change to a pre-existing film. I am sure if anyone actually took up your suggestion, you'd have the ungodly wrath of most of the HTF membership on you. Just ask George Lucas.
BTW, not wanting to get into it that much, I must say I disagree heartily with your assessment of the last line. And, though democracy is no way to settle this, I'd hazard I wasn't alone.
I didn't know To Have And Have Not is listed as a noir. I've always considered it a Hemingway adaptation. It's based on a book by Ernest Hemingway written in the 1930s. The film isn't quite the same as the book but it adhered to the Hemingway universe, if you know what I mean. I'm trying to remember the name of the remake; it starred John Garfield. 1950 or thereabouts. That was noir, more noir than To Have And Have Not. If you love To Have And Have Not as much as I do, you'll also appreciate the remake which used the source novel differently and also goes in different directions. Too bad it's not on DVD. I think I taped it off TCM years ago. And while you're at it, check out Islands In the Stream (1978) with George C. Scott, an MGM DVD. Hemingway rewrote the story as a WW2 epic. It was published after he died and Franklyn J. Schaffner (Planet of the Apes, Patton, Papillon) directed it. The noir roots are still deeply imbedded.
It would still leave Renault with saying that he could be duped into providing a letter of transit for Rick and that the 10,000 francs could "pay our expenses."
Thus the end still has a smiling Renault who is suggesting they go off together in some sort of partnership.
Thus even with the last line out, little has changed except the film ending with an awkward silence to Renault's proposal
True, but "The Killers" was also a Hemingway adaptation, and that's certainly noir...
Astute observation.
I just re-watched the ending (chapter 32 on the DVD). I know exactly how to resolve the issue. But you won't like my answer, so I'll leave it alone rather than derail this very interesting thread any further. If you want to discuss the ending to Casablanca any further, start a new thread and I'll join in.
Yes, The Killers is certainly a noir.
If you guys want to consider To Have And Have Not a noir, that suits me just fine.
The remake of To Have And Have Not alluded to above is The Breaking Point (Warner Brothers, 1950) directed by Michael Curtiz in fine hardboiled style. Listed by Herb Kane in the initial post of this thread. John Garfield lets us know immediately that he owns this version of Harry Morgan, a fishing boat owner in southern California who is so broke he can't afford to feed his wife and daughters. So he agrees to smuggle illegal Mexicans on his boat, but quickly gets in over his head. A young and winsome Patricia Neal plays a blonde femme fatale who never has a chance. Phyllis Thaxter has her best role as the young wife; the scene where she tries to make herself look like Patricia Neal to win back her husband is heartbreaking and must be seen to be believed. Curtiz seems to be making a conscious effort to take his version into directions opposite from To Have And Have Not. Although the location has changed (Cuba in the novel, southern California in the film) Hemingway's story is intact in this overlooked and underestimated film noir.
Hopefully, Warner Brothers will consider The Breaking Point for its next noir box set or perhaps for a Garfield collection.
Not to be confused with the Bob Clark film from 1976.
TCM airs it from time to time.
Anyone else familiar with The Breaking Point?
Yes; it has a harder edge than Hawks film, and it's atypical Curtiz. Garfield's Morgan is much more of an ambiguous opportunist. Excellent movie.
How is Rick ruined? He didn't lose Ilsa - he let her go. He walks off with his buddy Captain Renault totally escaping a murder rap. He's a survivor continueing on his path of freedom.Best,
Gary
I have always enjoyed SLEEP MY LOVE. Just a little correction here - Hazel Brooks (looking very much as she did in BODY AND SOUL) is the femme fatale (named Daphne), Rita Johnson is Barby, the friendly, talkative friend of the heroine.
I hope that Claudette Colbert's other lady-in-distress melo, THE SECRET FURY (50) with Robert Ryan as the GOOD guy, makes it to DVD via Warner......
EDIT: Just spotted WOMAN IN THE WINDOW listed for July 7th at MoviesUnlimited....