Bogart: Life Comes in Flashes (2024)

[bunniefuu]

(CHURCH BELL TOLLS)

(CHURCH BELL TOLLS)

Funny. I never considered

myself particularly well liked.

I really never knew before

just how many friends

I did have.

Just as you can't cheat

your way through life,

you have to be yourself,

believe in yourself,

play your hunches.

I really can't understand

why actors

can't have human frailties

like other people,

why they can't make

the same mistakes,

guess wrong now and then.

Bogie's theory always was

when you're dead, that's it.

You've gotta press on,

because life is for the living.

My name is Humphrey Bogart,

in case there are those of you

in the audience

who are either too young

or too old to know who I am.

MAN: Bogie had those rugged,

masculine looks

that Americans

seem to identify with.

WOMAN: He was

a rugged individual.

MAN 2: He could trade ripostes

and dialogue.

And the nastier the better.

MAN 3: Bogie.

MAN 4: Bogie,

I just think he's great.

No matter what he does,

it comes out cool.

When people think

of my father, you think

of the film noir detective,

you think of "Casablanca,"

you think of Bogie and Bacall.

But it took him over 40 years

to find his feet

in his film career.

He'd lived a full life

before that point

with as many setbacks

as he had successes,

and he'd been married

three times

by the time he met my mother.

In every man's life,

there are pinpoints of time

that govern his destiny.

WORDS OF BOGART: I'm not at ease

with women, really.

I must obviously like

certain women.

I've certainly married

enough of them.

If you're not married or

in love, you're on the loose,

and that's not comfortable.

Love is the one emotion

which can relieve,

as much as is ever possible,

the awful essential loneliness

of us all.

MAN: I said to Bogie,

"Bogie, I need some help

with this girl."

She's brand-new. She's never

made a scene before.

And I'm going to try and make

her more insolent than you are.

And you have

the reputation of being

the most insolent man

on the screen."

He kind of laughed and he said,

"You've got a fat chance

of doing that."

"Well," I said,

"Bogie, I'm the director,

and every scene we play,

she's gonna leave you

with egg on your face

and walk out on you."

-Who was the girl, Steve?

-Who was what girl?

The one who left you with

such a high opinion of women.

She must have been quite a gal.

May I?

WORDS OF BOGART:

It seems so strange

that after 44 years

I should fall in love

when I thought

it could never happen again.

BACALL:

Well, when I first met Bogie,

he just said hello to me

and said,

"I saw your test. We'll have

a lot of fun together."

Ha! I don't think

he realized at the time

quite how things would turn out.

What'd you do that for?

I've been wondering

whether I'd like it.

-What's the decision?

-I don't know yet.

BACALL: I had seen him

in a couple of movies.

I saw him in "Casablanca."

He didn't thrill me at all.

Leslie Howard was the actor

that thrilled me.

WORDS OF BOGART:

She's wonderful.

She has a point of view.

Startles me sometimes.

I blink and realize

she's looking at things

with younger, clearer eyes.

She's smarter than me,

that's all.

The thing I was

most aware of growing up

was my father's

and mother's fame.

You can't get around it.

Being movie stars,

the golden age of Hollywood,

it couldn't get any better.

-How are you today?

-Better than last night.

I can agree on that.

BACALL: He said,

"If you want a real career,

then I'll do everything

I can for you,

but I won't marry you."

Because he'd been married

to three actresses

and they had all

followed their careers,

their careers came first.

And I promised him

that our marriage

would come first.

What do you think's fair?

I'll leave that to you.

INTERVIEWER:

I remember both of you

are natives of New York.

Do you miss

this big town very much?

-No.

-Yes.

Wait a minute.

(CHUCKLES)

Well, that's a nice, normal

family disagreement,

but, tell me, have you

sort of lost your appetite

for playing

before live audiences, Bogie?

Well, I have, Ed,

because I did an awful lot of it

when I was a kid.

I started in '21, and I thought

the world was my oyster,

and I came to Hollywood

and was a terrible flop here.

And then I went back to New York

and was in four big flops there.

And I swore if I ever got to

Hollywood again, I'd stay here.

WORDS OF BOGART: By 1921,

I was working in theater.

I sold tickets,

ran backstage, ran out front,

counted up the take,

and then ran back

to bring down the curtain.

I was stage managing

a pretty complicated show

with a lot of scene changes.

Helen Menken was the star.

Instead of staying

in her dressing room

while these things

were going on

and keeping out of the way,

she hung around,

slowing things up.

I told her

to go back to her room.

She pulled

the great star act on me.

I lost my temper.

And I guess I shouldn't have

done it, but I booted her.

She, in turn, belted me

and ran to her dressing room.

That, as a matter of fact,

was the first conversation

I had

with the girl

who became my first wife.

When Bogart met Helen Menken,

he was a nobody on Broadway.

She was one of the great stars.

She was the equivalent

of the rock star.

People would be waiting

at her hotel.

There would be

standing ovations.

You'd have to part the crowd

for her to go in.

People would be

grasping for her.

She would have been

every bit the diva today.

Helen really wanted to help

Bogart with his career.

WORDS OF BOGART:

I startled Broadway

by appearing in a play

called "Swifty"

as my first big acting job.

When I awoke the next morning,

Maud came in

with a couple of reviews,

she was Maud, never Mother,

including Alexander Woollcott's

estimate

of her son's performance.

"The young man who embodied

the aforementioned sprig

is what is..."

..."usually and mercifully

described as 'inadequate'."

So, you want to be

an actor, eh?

A lot of people

don't realize that you are

a native New Yorker.

-That's right.

-And your dad was a doctor?

My dad was a doctor, yes.

I was...

I was born in New York City.

-Bed number 21,

Sloane's Maternity Hospital.

-(LAUGHTER)

And I lived up on 103rd Street

in West End Avenue.

COMEDIAN: I can't get over this,

a guy so tough,

and he's got a name

like Humphrey DeForest Bogart.

And with a name

like Humphrey DeForest Bogart,

you gotta be tough.

(LAUGHTER)

WORDS OF BOGART:

When I was born,

the family was worth

a tremendous amount of money.

My father had

an excellent practice,

and Maud could make $50,000

a year as an illustrator.

She was essentially

a woman who loved work,

loved her work to the exclusion

of everything else.

She was totally incapable

of showing affection.

MAN: For Bogart,

it was troublesome growing up

because there was no hug,

there was no kiss,

there was no "I love you."

Maud Humphrey

was one of the most famous

illustrators in America,

and she was also

one of the most highly paid.

WORDS OF BOGART: In the decades

around the turn of the century,

"The Maud Humphrey Baby"

was perhaps the most celebrated

child in the world.

I understand there was a period

in American history

when you couldn't pick up

a g*dd*mn magazine

without seeing my kisser in it.

When I was a kid,

it gave me kind of a complex.

I was always getting the razz

from friends.

Maud was well bred

and extremely proud of it.

She was known far and wide

as Lady Maud.

Beautiful, stately, fastidious.

She looked and acted the part.

Even in the country in summer,

Mother's tall, stiff-backed

hourglass figure

was decked out in a white duck

skirt and crisp white blouse.

If white startled people,

it was all right with her.

She'd been startling people

all her life.

DWYER BUZARD:

Maud was a suffragist.

She was very influenced

by her upbringing in Rochester,

and would have been influenced

by Susan B Anthony,

Frederick Douglass,

and other luminaries

who lived and visited here.

She was steeped in feminism

and civil rights.

WORDS OF BOGART:

We had a house in New York

and a country place

at Canandaigua Lake

in Upper New York.

I always lived near the water

and understood and liked boats.

My father gave me

a one-cylinder motorboat,

and I used to putt-putt

around the lake all day long,

exploring every watery inch

of it.

In the main,

I had pretty good manners,

but I hated the smugness

of people in authority.

I can't show my reverence

when I don't feel it.

Dad had a faint idea I'd become

the second surgeon

in the family,

but by the time

I'd left elementary school,

I guess the hope had faded.

"My dear Dr. Bogart,

count on me to do all I can

to get the young man

started right

when he reaches

Andover next week."

"My dear Dr. Bogart,

when a boy is willing

to shoulder the responsibility

for his shortcomings

and manfully admit that he

and not someone else

is to blame,

the chances

of a successful outcome

are immensely increased."

"My dear Dr. Bogart,

to my great regret,

I am forced to advise you

that Humphrey

has failed to meet

the terms of his probation,

and it has become necessary,

therefore,

for us to require

his withdrawal

from the school at this time."

WORDS OF BOGART:

The b*stards threw me out.

You've had every chance

that could have been

given to you,

and you have failed.

Not only yourself,

but your parents.

We don't intend to support you

for the rest of your life.

You're on your own from now on.

WORDS OF BOGART: I didn't care

to face the old man,

so I joined the Navy.

The United States had just

entered the First World w*r,

and it seemed

a good opportunity for me

to cash in

on my fondness for water.

I was sorry that the w*r

didn't touch me mentally.

I was still no nearer

to an understanding

of what I wanted or what I was.

Because of his mother

being the breadwinner

in the house growing up,

he was very leery

about suddenly

sort of finding himself

in debt to a woman

for making his life better.

And at one point he said,

somewhat jokingly, to a friend,

he said,

"I can't marry that girl."

And his friend said to him,

"Well, if you don't,

you'll never get another part

on Broadway."

MENKEN: I've been so frightfully

occupied, you know.

I just hadn't found time

to marry.

Mr. Bogart called on the phone.

"You're not so busy now.

Do you think you might

find time to marry me

on Thursday afternoon?"

We took the fatal leap.

We were married in New York.

WOMAN: He was one of a vast crew

of juvenile actors.

He was playing

in silly comedies,

and we didn't think

very much of Bogie.

He just wasn't

anything very much.

And he was cursed with

a rather plain old shoe face.

There was nothing attractive

or romantic about him.

WORDS OF BOGART: I played

lots of juveniles on the stage.

I put jars full of pomade

in my hair, slicked it back,

and tried to look like

a 42nd Street version

of Rudolph Valentino.

I went to Chicago

in The Cradle Snatchers,

and a critic named Amy Leslie,

a lady critic,

wrote a review in which

she said that, as I remember it,

"Mr. Bogart has the grace

of a Valentino,

the charm of an E H Sothern,

and the dramatic appeal and

strength of a John Barrymore."

Hey, is this a good speakeasy?

The best in town.

New York in the 1920s

was an exciting place.

It was prohibition, which

outlawed legal alcohol sales

but then pushed people

to go into ill*gal speakeasies,

where they also

came into contact

with underground nightclub

scenes and also performers.

One thing that was changing

was the way gender

and sexuality would work,

and what that meant was that

there were big fights over it,

kind of like now.

"The c*ptive,"

it's a play pretty explicitly

about the love

between two women.

"The c*ptive" first opened

in Paris in March 1926.

It played all over Europe.

It broke attendance records.

So then it opened in Broadway.

It took a lot of courage

for me to play this part.

One does not feel quite

American in this sort of role.

Humphrey urged me to play it

because he thought

I could do it well.

I tried to make the audience

forget to be cynical,

but naturally I dreaded

the avalanche of criticism

it would bring.

HORAK: By the end

of the 19th century,

violets had become associated

with lesbianism.

"The c*ptive" introduced

this to the entire

reading American public.

WORDS OF BOGART:

Helen certainly did a lot

for the lesbians of America.

Women would send her

sl*ve bracelets,

and, most ironic of all,

and probably

missing the point completely,

the deans of several

women's colleges wrote,

thanking her

for warning their students

about the dangers

of a reprehensible attachment.

HORAK: At the same time,

Mae West is doing a preview

of her new play

called "The Drag,"

which was advertised as a male

version of "The c*ptive."

MENKEN: The play

had been running undisturbed

for six months.

Then Miss Mae West

and her troupe

were hauled off to jail.

Ooh. Lovely tie.

HORAK: The district attorney

raided "The c*ptive,"

Mae West's play "Sex."

They arrested 40 producers,

stage managers and actors,

including Helen Menken.

And this makes front-page news

throughout the country.

MENKEN: And so

I was carted off to court,

and the show was closed.

WORDS OF BOGART:

Censorship is the number one

enemy of a free democracy,

and if America

is to continue to have

freedom of press and radio,

these insidious

enemies of freedom

must be

emphatically discouraged,

because these men will move on

to other means

of public expression.

HORAK: Bogart being married

to Menken at the time

witnessed

what she went through.

So I could imagine

that that would influence him

in his own stance against

censorship in the movies

that followed.

WORDS OF BOGART:

We quarreled over the

most inconsequential things.

What started out

just as a difference of opinion

would suddenly become

a battle royale.

MENKEN: I hated the idea

of coming to a divorce court.

I tried to make my marriage

the paramount interest

in my life,

although my career

was a success.

WORDS OF BOGART:

We agreed to call it a day.

How can you keep

a marriage together

when neither of you

sees the other?

We're through, see?

I'm not the guy for you.

I've had plenty of girls,

and I'll have plenty more.

WORDS OF BOGART: I'd had enough

women by the time I was 27

to know what I was looking for

in a wife

the next time I married.

I played it solo until

I met Mary Philips in 1928.

Mary was an actress too.

In one scene, I was delivering

a very dramatic speech.

Mary was supposed to walk away

from me saying nothing.

I noticed she was putting

a lot of that into her walk,

so much so that the audience

focused their attention

on her instead of me.

"You can't do that!"

I told her. "That's my scene."

There was an amused twinkle

in her eye.

WORDS OF PHILIPS:

"Suppose you try and stop me."

WORDS OF BOGART: Well,

I didn't try to stop her

because while I was talking,

I suddenly became very aware

that here was a girl

with whom I could easily

fall in love.

Humphrey and I were married

by a Justice of the Peace

in Hartford in April 1928.

He was a strangely

puritanical man

with very old-fashioned

virtues.

He had class as well as charm.

WORDS OF BOGART:

Mary was a mixture

of New England and Irish,

and she furnished just the sort

of balance wheel I needed.

(SHOUTING)

The Depression was here,

and I didn't escape.

The theater had gone to hell,

and so had my salary.

I rehearsed for shows

that folded

almost before

the first curtain had gone up.

-Beryl.

-All right.

Tell me

while you're getting dressed.

Beryl, I gotta have some money.

$100.

I can let you have 60 cents

of it. What's happened to Eddie?

What makes you think it's for

Eddie? Oh, well, what if it is?

-I've still got to have it.

-When are you gonna get wise

to yourself?

Can't you see it's just a matter

of time until that phony

pulls you down

into his own class?

I'm sick of hearing about men

that do the little things.

Give me a guy that does

a big thing once in a while,

like paying a month's rent.

WORDS OF BOGART: Mary stayed

working on Broadway,

and I was brought out

to Hollywood.

Talking pictures

had just come in,

and anybody from the stage

was jumped at.

MGM had hit a gold mine

with Clark Gable.

20th Century Fox needed a big,

rough answer to Gable.

That was me.

I wasn't handsome, but

they made me up the same way

they'd been doing the

good-looking boys for years.

False eyelashes, red lips

and all. I felt like a dummy.

I'm not ready yet

to settle down in the suburbs

and wear golf panties.

WORDS OF BOGART: Also,

I was very lonely for Mary.

-Well, say...

-Hey, you're in a hurry,

aren't you?

No, I've got lots of time.

-What's your name?

-What's your...

Marianne Madison. What's yours?

-Corliss. Val Corliss.

-Pleased to meet you.

How would you like to take

a little walk, Mr. Corliss?

There's nothing I'd rather do

than take a walk.

WORDS OF BOGART:

I was at Fox for one year,

during which I did

five pictures.

I wasn't surprised

Fox didn't renew my contract.

I'll be back.

That was when I packed it in

and made for Broadway again.

Oh, boy.

I was convinced then

I would never make it

in the movies.

Bogart was not too successful

in those pictures.

Indeed, he didn't make

any particular impression.

And he came back to Broadway

after about a year or two

working for Fox

and was beginning to become,

I have heard from friends

who knew him well at that time,

he was beginning to become

sort of a falling actor

and a rising drunk.

(LAUGHTER)

Hey, you! Some more beer!

This time it's on me, boys.

WORDS OF BOGART:

I sip about an ounce of booze

every hour, all day long.

I read that the liver can only

work off one ounce per hour,

so I don't go much beyond that.

I always liked stirring things

up, needling authority.

I guess I inherited it

from my parents.

They fought.

We kids would pull the covers

over our ears

to keep out

the sound of fighting.

Our home was kept together

for the sake of propriety.

What was curious about Maud and

Belmont is that both of them

were dependent on drugs

for their comfort.

Bogart Senior had had

a terrible accident.

He was in great pain.

WORDS OF BOGART: Most of

her life, Maud suffered

from migraine headaches.

When the pain began,

it lashed her so terribly

that her left eye closed

and the side of her face

flamed.

Then my father shot a quarter

of a grain of morphine into her

to keep her from going insane.

When I was 15,

my father made bad investments

and lost a good deal of money.

My mother

was the head illustrator

for "Delineator" magazine.

She saw instantly that

it was up to her to support us.

From that moment on,

I never saw her relax,

mentally or physically.

INTERVIEWER:

What were the shows you did

before you went to the coast?

-Oh, Lord...

-I remember Cradle Snatchers.

Let's see, Cradle Snatchers was

one, and Saturday's Children.

And It's a Wise Child, The Most

Immoral Lady, Meet The Wife.

I was very lucky, Ed.

I had seven smash hits in a row.

I was in them, although

I didn't have very big parts.

Wasn't it Bob Sherwood's play

Petrified Forest...

Yeah, that started me...

-Typed you as a rough guy?

-...going with this thing.

Yeah. It sent me out

to the movies.

WORDS OF BOGART:

When Warners decided to film

"The Petrified Forest,"

they had Edward G Robinson

in mind for the part.

Leslie Howard stuck out for me.

He said he wouldn't do the film

unless I was cast

as Duke Mantee, the k*ller.

-There's a picture

of Duke Mantee.

-Six k*lled?

Hmm.

-Did he do all that?

-Oh, yes. Yes, indeed.

Well, he doesn't look

very vicious, does he?

WORDS OF BOGART: I believe

that if I had not been given

the movie role of Duke Mantee,

I'd be out of the films

altogether.

Now, just behave yourself,

you two, and nobody'll get hurt.

WORDS OF BOGART: It marked

my deliverance from the ranks

of the sleek,

stiff-shirted smoothies

to which I had seemed

condemned for life.

Maybe we'll decide

to get buried here.

Well, you better

come with me, Duke.

I'm planning to be buried

in the Petrified Forest.

You know, I've been

evolving a theory about that

that would interest you.

It's the graveyard

of the civilization

that's shot from under us.

The world of outmoded ideas.

They're all so many dead stumps

in the desert.

That's where I belong.

And so do you, Duke.

You're the last great apostle

of rugged individualism.

Tell us, Duke, what kind

of a life have you had?

What do you think?

I spent most of my time

since I grew up in jail.

And it looks like I'll spend

the rest of my life dead.

WORDS OF BOGART:

I owe a lot to Leslie,

and he was always

a great friend of mine.

It's not for nothing

my daughter is named Leslie.

Get away from that door.

You think I'm gonna let you

take those people out

and slaughter them?

Cut out the act, pal.

I won't let you do it, Duke.

Okay, pal.

-(g*nsh*t)

-(WOMAN SCREAMS)

I'll be seeing you soon.

WORDS OF BOGART: Because of "The

Petrified Forest" being a hit,

Jack Warner assigned me

to a contract with no options.

My God, how I worked

in 1936 and '37.

I no sooner

got finished with one,

then those b*stards

had me in another.

(BELL RINGS)

-(BELL RINGS)

-By the mid 1930s,

the classical Hollywood

studio system

was running

a factory-type operation.

Pretty much the way

General Motors

was producing automobiles,

Hollywood was producing

motion pictures.

WORDS OF BOGART: Mr. Warner

and I frequently disagreed

as to what constituted

a good picture.

I was used to the theater,

where I was shown a script

and asked if I wanted

to play in it.

I resented being thought of

as an employee.

Did the Black Legion

have anything to do

with this, Taylor?

Come on, Taylor, be

a good fella. Give us a story.

Humphrey was away

all hours of the night.

The marriage

had become monotonous.

WORDS OF BOGART: This was the

first time I'd really been able

to support Mary.

WORDS OF BOGART:

I asked her to stay in

Hollywood and start a family.

WORDS OF PHILIPS:

I was becoming accustomed

to my name in lights

outside the theater.

BAKER:

You got something here,

my friend.

I'd say you deserved her,

only I don't think

any man's worth any woman.

WORDS OF BOGART: Marriage is not

to be taken lightly,

to be put secondary

to one's selfish purposes,

like a career.

Mary Philips and I parted.

Maybe it was my fault.

It was difficult to judge.

I was walking off the dance

floor when I saw Mayo.

She was wearing

a stunning red gown

and looked

very, very interesting.

I was besotted.

Listen, toots,

when a gal like me loves a man,

nothing makes any difference.

WORDS OF BOGART:

She had one fear.

She didn't want just another

Hollywood marriage.

So she made me promise

not to see her, phone her,

or write to her

for three months.

At the end of that time, we'd

know if it was the real thing.

A little absent treatment

won't do any harm.

WORDS OF BOGART: I found out

about Portland's Rosebud

in an old scrapbook.

LAX: She had started off

on Broadway as a huge success.

She was young and beautiful

and was highly sought after.

WOMAN:

When she came to Hollywood,

she was able to play

these fascinatingly

androgynous, tough,

very gritty characters,

the tough-talking dames.

Even the biggest stars

do a nosedive sometimes.

Listen, you.

I'll be a star when this show's

rotting in the warehouse.

All right, fine.

HUTCHINSON:

In the early 1930s, you had

lots of really exciting films

about young women liberated,

out in the workplace,

and finding their own way

in the world,

and often that meant

not playing by the rules.

(GASPING AND LAUGHTER)

In the summer of 1934,

everything pretty much changed.

The Hollywood censorship regime

really went into enforcement

under the authority

of a very strict Irish Catholic

named Joseph Breen.

All the motion picture

production companies

in the United States

have joined hands in adopting

what has come to be known as

a "production code of ethics,"

to ensure screen entertainment

which will be

reasonably acceptable

to our patrons everywhere,

entertainment which is

definitely free from offense.

DOHERTY: After the onset

of the Production Code regime,

Hollywood adheres

to a very strict set

of moral commandments.

HUTCHINSON:

No profanity on screen.

No h*m* on screen.

And on a great big battleship

you'd like to be...

Working as chambermaids, ah

HUTCHINSON:

No interracial romance.

No crime without punishment.

No disrespect to authority.

No extramarital sex.

And ultimately the women of the

1930s were suddenly relegated

to the supporting character

of wife and/or mother.

The vulgar, the cheap

and the tawdry is out.

The code sets up

high standards of performance

for motion picture producers.

It states the considerations

which good taste

and community value

make necessary in this

universal form of entertainment.

Ooh, mama!

I know just how you're feelin'.

DOHERTY: Mae West

is the big star of 1933,

and the big star of 1934

is Shirley Temple.

Then come here.

HUTCHINSON: After the code,

there was no place

for the particular persona

that Mayo Methot

had crafted so well.

Sweetheart,

I'm never going to leave you.

Here are these two people

who seem to be,

as they come together,

really at kind of the same

point in their careers.

You'll see that they're

on escalators side by side,

and hers is going down

and his is coming up.

But there they are,

meeting face to face,

just in the middle,

at this point in their lives.

She grew older,

whereas for Bogart

it was all right to grow older.

I don't really look old, do I?

What do they expect a girl to

look like at six in the morning

after dragging a lot of

heavyweight shoe salesmen around

the dance floor all night?

Like a debutant?

-You knew the deceased,

Betty Strauber?

-Yes, sir.

Can you please speak a little

louder so the jury can hear you?

-Yes, sir.

-What kind of a girl

would you say she was?

She was the sweetest kid

you ever saw.

MAN: They boozed a great deal,

and they fought a great deal.

And I asked him why he enjoyed

fighting with her so much,

and he said because

the making up was so pleasant.

I don't wanna fight with you

tonight, you beautiful...

WORDS OF BOGART:

Both of us are actors,

so fights are easy to start.

Actors always see the dramatic

quality in a situation

more easily than other people

and can't resist

dramatizing it further.

With us, it's second nature.

So I say something.

If Mayo's in the groove,

she catches the cue

and sends it back to me.

I pick it up from there, back

to her it goes, and we're off.

One minute we're mad.

The next we're over it.

We never hold grudges

or go on those silent sulks

that are so bad.

We enjoy every minute

of every sword crossing.

When they're over,

they're forgotten.

WORDS OF BOGART: Mayo and I

are the Battling Bogarts.

We love it. And what's more,

we love each other.

A left to the jaw,

and a right to the heart.

Oh, you still think

I can wow 'em, don't you, Val?

Of course I do.

(BIRDS CHIRPING)

WORDS OF METHOT: I don't believe

in this new-fashioned idea

of young women continuing

with their work after marriage.

I find time

as full as it ever was

when I was working steadily.

One way

that the studio publicists

sort of kept control

of their wayward stars

was that actors were expected

to talk to the fan magazines.

WORDS OF METHOT:

I plan the meals and take care

of Bogie's clothes,

attend to buttons and mending

like a most admirable hausfrau.

HUTCHINSON:

Actors would go into the fan

magazines and talk about

all they really cared about

was home and family

and their husband,

and pose for photographs by the

fire, or, like Mayo Methot did,

sitting at the feet of her

new husband, Humphrey Bogart.

WORDS OF METHOT:

I'm not interested

in my career anymore.

Humphrey's career

is my interest.

LAX: It was the last thing

in the world that

she would have ever wanted.

She was as hungry as he was,

or any other actor in town.

WORDS OF BOGART:

I played heavies in Hollywood

for eight or nine years.

I was a punching block

for Cagney,

Raft, Robinson, everybody.

The gangster characters

I played are all the same.

You could almost make a card

index of the lines they speak.

"Get over against the wall."

"Get your hands up."

-(g*nsh*t)

-(GRUNTS) Crazy!

-Any cop... cop...

-Here's one rap you won't beat.

Hey...

WORDS OF BOGART: In my first

34 pictures, I was shot in 12,

electrocuted

or hanged in eight,

and was a jailbird in nine.

I always wound up dead

and never got the girl.

A gangster is never allowed

to have any sex life.

The Breen office,

you know, old boy.

This was one of the pictures

that made me march

into Jack Warner

and ask for more money again.

I was this doctor

brought back to life,

and the only thing

that nourished

this poor b*stard was blood.

If it had been

Jack Warner's blood,

maybe I wouldn't have minded

as much.

The trouble was,

they were drinking mine,

and I was making

this stinking movie.

Tell Dr. Rhodes...

we'll have to postpone our talk

on... blood composition.

WORDS OF BOGART: Do you realize

you're looking at an actor

who has made

more lousy pictures

than any other in history?

I'd read a movie script

and yell that

it was not right for me.

Jack Warner would phone

and say, "Be a good sport."

I'd argue and say no.

Then I'd get a letter

from the Warner Bros.' lawyers

ordering me to report.

I'd refuse.

Then another wire from Warners

saying that if I did not

report, he'd cut my throat.

He'd always sign it,

"Love to Mayo."

When my father died,

Maud doubled up momentarily

as if she'd had the wind

knocked out of her,

then straightened up and said,

"Well, that's done."

I insisted she come west.

She thought California

a pretty rough place.

It had no traditions,

no social background.

The building

was on Sunset Boulevard,

two blocks

from Schwab's drugstore,

the famed Hollywood emporium

where you could buy anything

from a quart of French perfume

to a nickel hamburger.

(ELEVATOR BELL RINGS)

Schwab's provided her

with the activity

she missed in retirement.

She joined its congregation.

She made little purchases

and strolled

grandly home again.

She was Lady Maud

with a vengeance.

Maud was not a woman one loved.

For such was her drive,

her singleness of purpose,

that none of us

could really get at her.

What an adorable boy he was.

Sweet and darling.

I don't know why he has to play

all these dreadful parts.

WORDS OF BOGART:

She did not complain

about her final illness.

She said nothing to anyone

until it was much too late

to do anything for her.

Instead, at 75,

she went into a hospital,

slipped into a coma, and died.

When this remarkable, gifted,

successful illustrator

died in 1940,

her son was given

the death certificate

to sign and put her occupation.

And he put "housewife."

ACTRESS: I'm awful sorry

for the way I've acted.

You got nothing

to be sorry about.

Yes, I have, nagging at you

for flying off the handle.

I wish I hadn't. Oh...

Oh, I like it. I mean,

that's the way married people

ought to act.

Listen, my ma and pa

fought like cats and dogs

going on 40 years.

I wouldn't give you two cents

for a dame without a temper.

Well, I was a writer

at Warner Bros. in the '30s.

Bogart was

a contract actor there.

Um, I used to see him

on the lot,

and, uh, we became friends.

And presently I wrote a picture

that Bogart did, "High Sierra."

(TIRES SCREECH)

When the Communist scare

came along, around 1940,

an early version

of the House Committee

on Un-American activities,

which was known as HUAC,

came out

and was holding hearings.

Bogart spent an afternoon

with the committee,

not giving them anything

that they wanted

but becoming

more and more incensed

by the way he had been accused

by a man named Joseph Leech,

who had written letters

saying that Bogart

and others were seen

at Communist Party meetings,

which was just bunk.

(BIRD SQUAWKS)

WORDS OF BOGART: I'd always been

a loyal citizen.

I resented the intrusion

and the insinuation

that I was anything else.

LAX: He came out and he said,

"I can't stand by anymore.

We can't let America

come to this."

And that was his beginning

into politics,

which would really

come forth in 1947.

WORDS OF BOGART:

Mayo's a grand girl.

She knows how to handle me.

When I go to a party and

the party spirit gets at me,

I'm apt to flirt

with any amusing girl I see,

but I don't mean it.

My wife's job, and Mayo

has promised to take it on,

is to yank me out of the fire

before I get burned.

I like a jealous wife.

I can be a jealous husband too.

There is nothing

that cannot be ironed out

between two people

who love each other.

Do I ever throw things?

Oh, yes.

But the funny thing is,

I never seem to throw things

I really like.

Old things that won't break,

metal ashtrays and so on,

are fine for throwing.

Phonograph records are superb.

They make

such a satisfactory crash...

(SMASHING)

If you're too tame,

you're half dead.

Bogie and I like excitement.

We need it.

WOMAN: I got myself into a

dinghy once and rode out there.

Well, they both came out,

and everything was bleeding

on 'em, particularly noses,

and they yanked me on the boat

and they said,

"Have a drink, Joanie,"

and gave us a drink,

and they were the best of pals.

Bogie took a piece of ice

out of his highball glass

and put it at the back

of his neck to stop

the bleeding, and says,

"Boy, is she a dame.

She's got a right like

a truck driver. Look at my eye!"

And she'd say, "That guy!

Look at this shiner!"

And she had one.

And whatever piece of meat

or anything I had,

I'd plunk it on her eye.

And then we laughed,

and they laughed,

and we had a lovely time.

I think that when you're living

day to day with someone

who is embracing the career

that you've been fighting for

your whole life,

and you can see your own career

just slipping completely

out of view,

that must be

entirely devastating.

LAX: She had seen

what it was like to be a star.

She had enough taste

of being a star

to know how much she wanted it.

And every day it became

less and less possible for her.

And that had to feed

into the unhappiness

that she had in the marriage.

Oh, I could have got out of it

once, but I had a rotten break.

I fell in love.

After the gangster era,

Hitler was acting out scripts

far more brutal

than anything that

the Capone g*ng or Warner Bros.

had ever conceived.

And at that point,

when reality was so gruesome,

you could not have heroes

with curly hair and soft voices

like Leslie Howard.

They were suddenly dated.

WORDS OF BOGART: "The Maltese

Falcon" was the first

of the private eye movies.

I wanna talk to Mr. Cairo.

Joel Cairo.

WORDS OF BOGART: I had

a lot going for me in that one.

First there was Huston.

HUSTON: The original intention

was to have George Raft

play it.

But he pulled away from it

because he didn't want

to trust his career

to a young director, to someone

who had never directed before.

And, um, Bogart,

to my secret delight,

was substituted.

That picture began, I think,

a whole new career for Bogie.

-What do you want here?

-I'm Sam Spade.

Tom Polhaus phoned.

Oh, I didn't know you at first.

Back there.

WORDS OF BOGART:

I was the first Sam Spade.

I don't have many things

I'm proud of, but that's one.

The trench coat

has become a trademark.

I do like a man

who tells you right out

he's looking out for himself.

Don't we all? I don't trust

a man who says he's not.

Uh-huh.

The most effective

American w*r propaganda

during the Second World w*r

takes traditional

old Hollywood genres

and adapts them for

the purposes of the w*r effort.

Rick, there's gonna be

excitement here tonight.

We're going to make an arrest

in your caf.

-Again?

-Oh, this is no ordinary arrest.

A m*rder*r no less.

If you're thinking of warning

him, don't put yourself out.

He cannot possibly escape.

-I stick my neck out for nobody.

-A wise foreign policy.

DOHERTY: It is trying

to persuade those Americans

who might be the traditional

American loner, like Rick,

that you really do

have to commit yourself.

Whatever gave you the impression

that I might be interested

in helping Laszlo escape?

Because, my dear Ricky,

I suspect

that under that cynical shell,

you're at heart

a sentimentalist.

We wanted to have

a romantic hero

who was working for the allies.

I mean, if he's the rebel,

he's the rebel in a good cause.

-He's the rebel

on behalf of the people.

-(SOLDIERS SINGING n*zi ANTHEM)

Play "La Marseillaise." Play it.

COOKE: He's against all the pomp

and the officialdom,

and the sleazy operations

of the establishment.

(SINGING "LA MARSEILLAISE")

No matter

what the future brings

As time goes by

Sam, I thought I told you

never to play it.

It's hard to be married

to a movie star.

You never know

when you might lose him

to a more beautiful woman.

Unless she's completely devoid

of jealousy,

she cannot help it.

It is a perfectly human thing

to do.

WORDS OF BOGART:

When I come home

from working on "Casablanca,"

Mayo is ready for me.

Sometimes I think

she lies in ambush for me.

I had admired Bogart very much

as an actor.

I found him fascinating.

There was something mysterious

about him.

And it was dangerous.

There was danger around him.

I always felt

there was a distance.

It was like

he was behind a wall.

"Casablanca" solidifies

Bogart's star status.

He gets the validation

that every true top billed star

has to have,

which is the romantic lead.

People had doubts about whether

he could make that transition

into the dreamy romantic lead.

They asked him whether

he thought he was adorable,

and Bogart replied,

"If Ingrid Bergman looks at you

like you're adorable,

then you're adorable."

Here's looking at you, kid.

BAKER:

Embrace me

My sweet embraceable you

Embrace me

You irreplaceable...

Mayo and Humphrey came in

and stood briefly at our table

to say hello

and tell us that they were

on their way to Africa

to entertain the troops.

They neither spoke

nor looked at each other

until the drinks

were brought to the table.

It was plain that the team

of the Battling Bogarts

was soon to break up.

-How are our boys doing?

-Our boys are doing a great job.

On our trip overseas,

my wife and I saw

thousands of American boys

in Africa and Italy, and you can

be awfully proud of them.

We did the best we could

to entertain them.

There's an organization

that's looking after them

in every theater of the w*r.

That's the American Red Cross.

WORDS OF BROOKS: Humphrey Bogart

had become big business.

It was time for Lauren Bacall

to make her entrance.

She who was also to become

his perfect screen partner.

As seductive as Eve.

As cool as the serpent.

Anybody got a match?

Thanks.

MAN: "Sam, I want you

to come up see me right away.

I've been stabbed." I said

"What?" He said "Stabbed."

And I walked in,

and he turned around,

and he had a...

a... a heavy,

uh, English tweed jacket.

And as he turned around,

I could see there was blood.

The blood had come

right through.

And the argument was that

they had a...

they had a difference of opinion

about politics.

BAKER:

He awakened in me

obviously something

that had never

been awakened before

and something

that I really needed.

And I needed someone

to really care about me.

And I guess I needed a man

to care about me.

And he was this...

He was the most caring man

that I've ever known.

And it just happened

that suddenly

I just had to be

with him all the time.

O'MOORE:

Come into my boudoir.

BACALL: We started sh**ting

"The Big Sleep"

on October 10th, 1944.

He told me

that the last few weeks

had been the most difficult

of his life.

Mayo said

she'd stopped drinking.

He had to give her a chance.

After about two weeks

of sh**ting,

the phone rang late one night.

He'd had a fight with Mayo,

of course.

She'd been drinking when

he got back from the studio

and things went

from bad to worse.

About three weeks into

the picture, Bogie left home

and checked into

the Beverly Hills Hotel.

WORDS OF BOGART: I couldn't

go on with the battles we had.

I wanted a new life.

What's wrong with you?

Nothing you can't fix.

WORDS OF BOGART:

It's hard to break up

a marriage of six years,

but we'd had so many fights.

I believed it was

the right thing to do,

and she was too sensible

to want to hold me.

INTERVIEWER: Howard Hawks tried

to discourage the relationship.

Oh, yes.

Oh, he kept saying to me,

"Oh, he'll never marry you.

Oh, don't be..."

And I would cry.

I was in tears most of the time.

And he'd say to Bogie, "Listen,

you don't have to marry.

Why don't you get

a little hotel room?"

That was not Bogie's style

at all, so it was...

Howard did everything he could

to try to stop it,

but it was unstoppable.

WORDS OF BOGART:

I never believed

that I could love again,

for so many things

have happened in my life

that I was afraid to love.

(APPLAUSE)

I never was happy

until I met that one.

My mother was born

Betty Joan Perske.

The family name on my

grandmother's side was Bacall.

Howard Hawks,

he didn't like the name Betty,

so he gave her the name Lauren.

Everybody who knew her

called her Betty.

INTERVIEWER: At that time,

was there any point

where you thought,

"I just can't take this crazy,

sick Hollywood scene"?

Oh, it was magic.

It was a fairyland to me

when I first went out.

All those green trees.

All those palm trees,

and the green grass,

and the oranges,

and the grapefruits.

The lemons. Lots of lemons.

(LAUGHTER)

-Including one or two pictures.

-Yeah.

I think if I had not had Bogie

as a guide, I really...

I dread to think

what might have happened.

When he used to talk about

actors who believed

their own publicity,

he said they forgot that the

studio planted the publicity.

They really began to believe

that it was them.

And it's very easy

to believe that.

Certainly when you're 19,

it's very easy to believe it.

Jack Warner decided he wanted

to put me in a picture

called "Confidential Agent"

with Charles Boyer.

I was not mad

about the script or my part.

Bogie didn't think

much of it either.

But to cast me

as an aristocratic English girl

was more than a stretch.

WORDS OF BOGART: Betty went from

what was practically oblivion

to the spotlight

of world attention.

Then, before she had time

to catch her breath,

she took a panning

that would have staggered

even a seasoned star.

The press went out of their way

to knock her,

just as they had built her up.

The plain fact of the matter is

that Betty was lauded

for one picture

out of all proportion

to her deserts,

and panned for another that

wasn't by any means her fault.

Betty had to learn two great

lessons practically overnight.

The lesson

of how to handle oneself

in the face of immediate

and unexpected success,

and that other lesson

of how to take immediate

and unexpected failure.

BACALL:

I fell from the top of that

ladder with a resounding crash,

and it was the last time Jack

Warner made a choice for me.

STEPHEN:

My mother's movie career

was kind of based

on my father's career.

She tried to separate herself,

but it all came back

to Bogie and Bacall,

because they were

one of the more famous couples

of that century.

DOHERTY: Throughout the 1940s,

there is a real concern

that not only

will the Soviet Union

be a threat to our democracy

but that the Soviet Union

has a fifth column, so-called,

of subversive agents

within America

also trying to undermine

American democracy.

J EDGAR HOOVER:

Communism in reality

is not a political party.

It is a way of life.

An evil and malignant

way of life.

It reveals a condition

akin to disease

that spreads like an epidemic.

And like an epidemic,

a quarantine is necessary

to keep it from infecting

this nation.

DOHERTY: The Hollywood Ten

were that group

of screenwriters,

one producer, one director,

who did not support the agenda

of the House Un-American

Activities Committee,

which was to investigate

alleged communist subversion

in Hollywood.

And if you opposed that agenda,

you were called

an unfriendly witness,

and you were subpoenaed

to come testify

before Congress.

MAN: The question

before this committee

will be to determine the extent

of communist infiltration

in the Hollywood

motion picture industry.

JACK WARNER: Ideological

termites have burrowed

into many American industries,

organizations and societies.

Wherever they may be,

I say let us dig them out

and get rid of them.

WORDS OF BOGART:

Our planeload of Hollywood

performers came east

to fight against

what we considered

censorship of the movies.

Our object

was to exert our influence

in defense of a principle,

the principle that

no man should be forced to tell

what political party

he belongs to.

None of us ever thought

for a moment

that we were

defending communists,

or that it had anything

to do with that.

As far as we were concerned,

we were defending man's right

to defend himself,

which Mr. J Parnell Thomas

was not allowing anyone to do.

Are you or have you ever been

a member of the Communist Party?

MAN: I believe

I have the right to be

confronted with any evidence

which supports this question.

I should like to see

what you have.

MAN 2:

It's unfortunate and tragic that

I have to teach this committee

the basic principles

of Americanism.

THOMAS: That's not the question!

MAN 2: It is an invasion

of the right of association

under the Bill of Rights.

THOMAS: Please be responsive

to the question.

MAN 2:

The rights of American citizens

are important in this room here,

and I intend

to stand up for those rights.

BOGART, ARCHIVE RECORDING:

This is Humphrey Bogart.

We sat in the committee room

and heard it happen. We saw it.

We saw American citizens

denied the right to speak

by elected representatives

of the people.

We saw police take citizens

from the stand like criminals

after they'd been refused

the right to defend themselves.

We saw the gavel

of a committee chairman

cutting off the words

of free Americans.

The sound of that gavel, Mr.

Thomas, rings across America.

Because every time

your gavel struck,

it hit the First Amendment

to the Constitution

of the United States.

WORDS OF BOGART: I think

the industry is so censored

and so shot at by factions

that it's like

a cowering rabbit,

afraid to stick its head out.

In the shuffle, we became

adopted by the communists,

and I ended up with my picture

on the front page

of the "Daily Worker."

LAX: Bogart, because he was

the most famous of the lot,

is the one who started

taking the criticism.

Tremendous pressure

was put on him.

DOHERTY:

Bogart has a press conference

in which he basically says,

"I was naive and stupid,

and I apologize

for doing what I did."

And it's really sort of one of

the more humiliating moments

in Bogart's life.

HUSTON: I was surprised to read

that Bogie had recanted

in the light of ensuing events.

Why, I regard it as a mistake

that Bogie did this.

He should have

stuck to his g*ns.

But I quite understand

why he didn't.

The man who followed Thomas

in the Senate, McCarthy,

made a nightmare out of his

decade, and... and no one...

So we can't hold Bogie too

strictly to account for this.

No one, literally no one,

had the...

the courage to speak up.

WORDS OF BOGART: Warner was one

of the worst, if you ask me.

He and a good many

of the stuffed shirts

who control this town

decided they had to

do something

to take the heat

off the industry.

That's why they set up

the blacklist

of stars, writers, producers.

BACALL: The other things,

maybe they're true.

Maybe it is a rotten world.

But a cause isn't lost

as long as someone

is willing to go on fighting.

Well, I'm not that someone.

But you are. You may not wanna

be, but you can't help yourself.

Your whole life's against you.

What do you know about my life?

A whole lot.

INTERVIEWER:

What was the name of that song?

BOGART: "The Bold Fisherman."

It's an old sea shanty that

my father used to sing to me

when I was

about eight years old.

INTERVIEWER: Would you sound

a bell note for Mr. Bogart

so he could start this

immortal song of the sea, hmm?

(PIANO INTRO)

BOGART: There was

a bold fisherman set sail

from off Billingsgate

To catch the bold piggie

and the g*y mackeroo

But when he got off Pimlico

The wynds did begin to blow

And the little boat

wobble-wobbled so

-(LAUGHTER)

-That overboard

went he singing

-Twinky deedle dum

-(LAUGHTER)

Twinky deedle dee

Was the highly interesting

song that he sung

Twinky deedle dum

Twinky deedle dee

Bold fisherman

WORDS OF BOGART:

Hemingway said that the sea

is the last free place

in the world,

and I respect it and love it.

The sea, the air.

It's clean and healthy,

and away from the Hollywood

gossip and leeches.

Ever since I was little,

I wanted to have my own boat.

I've realized that ambition

in the Santana,

and you've no idea the

satisfaction I get out of that.

BACALL: He'd never had children

and I really wanted him

to have children.

I don't know

whether he wanted them or not,

but he was going to have them,

I made up my mind.

(LAUGHS)

He was afraid

that it would interfere

with our relationship.

And of course, in a way,

I suppose it does,

because children do take over,

don't they?

WORDS OF BOGART:

I was as frightened

as any stock expectant father

when I found out

she was gonna have Stephen.

After all, it was my first shot

at being a father at nearly 49.

I guess I was scared I wouldn't

know how to be a good father.

BACALL: I don't know what

happened, but after I told him,

we had the biggest fight

we'd ever had.

The next morning,

Bogie wrote me a long letter

apologizing for his behavior,

saying he didn't know

what had gotten into him

except his fear of losing me.

A child was an unknown quantity

to him.

He just would have to

get used to the idea.

WORDS OF BOGART: I can't say

that I ever truly wanted

a child before I married Betty.

My life never seemed settled

enough to wish it on a minor.

But Betty wanted a child

very much,

and as she talked about it,

I did too.

I'm realistic enough

to be aware

that I shall probably leave

this sphere before she does.

I wanted a child, therefore,

to stay with her,

to remind her of me.

Meeting adjourned.

Have a frozen daiquiri.

WORDS OF BOGART:

I don't think I could live

just as a husband and father.

I have to work.

When I'm in town

and not working,

it's a pretty dull day.

For lunch, I'm at Romanoffs

for a couple of hours.

I can meet my friends there.

It's kind of like a club.

He would come in

every morning before noon.

INTERVIEWER: Was he one of

the first people to show up?

NIKLAS: Always the first.

But he would go first

to the bar, get his drink.

Then he'd go back to his table,

and then he would wait

for whoever would show up.

As a matter of fact, they put

a plaque up behind the booth

with the names

of who belongs to this club

that can sit at this table.

INTERVIEWER: Now, did Betty

come ever with him

at that early hour?

NIKLAS: No.

She would join him later.

INTERVIEWER:

When Betty was with him,

was it a different atmosphere

at the table?

NIKLAS: No, she held her own.

-Go get yourself a drink

and cool off.

-Okay.

WORDS OF BOGART: I don't trust

any b*stard who doesn't drink.

People who don't drink are

afraid of revealing themselves.

Here's happy days.

MAN: He was always

short-tempered,

but if you knew him,

you didn't believe it.

But he could have been

short-tempered to strangers.

The dividing line

was final and clear cut.

You knew where you stood

ten minutes after you met him,

you know.

FLORENCE: That's right,

you either had a rapport,

and you either would

communicate and he liked you,

or he didn't like you.

MAN: He made perfectly sure

that you knew

he was going to be

an unpredictable man.

He didn't walk round

with a chip on his shoulder.

He carried the chip in his hand

and made sure you knew he had it

and was going to put it

on his shoulder any minute.

He was a searcher for the...

the weakness in a person.

He loved to goad and, uh...

He would call it teasing.

It was really testing.

He loved to find

where he could jab

a sensitive part of a person,

and he was a master

at finding it.

MAN: There were times

when he would pick on people

for no reason whatsoever,

usually brought on by drink.

But on occasion

he would go after somebody

who had no defenses and who

really shouldn't be picked on.

WORDS OF BROOKS: During the last

ten years of his life,

driven by

his ferocious ambition,

Humphrey Bogart allowed himself

to be presented

to the world by journalists

as a coarse and drunken bully.

Just stop! You'll k*ll him!

WORDS OF BROOKS:

However, he played one

fascinatingly complex character

in a film whose title

perfectly defined

Bogart's own isolation

amongst people,

"In a Lonely Place."

There's a cancellation

on flight 16 for New York.

I'll stay with you, Dix.

I promise I'll stay with you.

I love you, Dix. I'll marry you.

I'll go away with you!

You'll run away from me

the first chance you get!

Don't act like this, Dix.

I can't live with a maniac!

I'll never let you go.

-Dix, don't! Don't! Dix, please!

-(PHONE RINGS)

Don't, Dix, please! Don't!

WORDS OF BROOKS:

It gave him a role that

he could play with complexity,

because the film character's

pride in his art,

his selfishness,

his drunkenness,

his lack of energy stabbed with

lightning strokes of violence,

were shared by the real Bogart.

(RINGING CONTINUES)

(SEAGULLS SQUAWKING)

WORDS OF BOGART:

We have a comfortable home,

a wonderful son,

a boat, and nice friends.

I hate like the devil

to take Betty away from our son

for such a long time.

The kid's only two,

and we're gonna be away

at least six months.

But I can't see it

any other way.

My other marriages broke up

on account of separations.

So wherever I go, she goes.

BACALL: I had agreed with him,

I made a pact with him,

I would always put my marriage

first, and I did.

I... I... I kept to that pact.

When my mother and father left

to go to "African Queen,"

Mrs. Hartley,

my nurse at the time,

brought us down to the airport

to see them off.

And they take off, get up in

the air, and she drops dead.

She literally drops dead

with me in her arms.

And the doctor calls her

and said,

"The nurse has died.

What do you wanna do?"

And that's when my mother said,

"Well, do I wanna go to Africa

with John Huston,

make a movie

with Katharine Hepburn

and have the most exciting time

of my life,

or do I wanna go home and

take care of the two-year-old?"

I understand this is

your first trip to Paris.

-Absolutely.

-And I bet you're excited.

And I can't wait to get there.

-The French capital.

-Yes.

It's always been

very glamorous to me,

and I've always loved

the French language.

And what about

the high spot of this trip?

What are you going to see?

The Folies Bergre,

the style salons or what?

For me?

Well, as it is for most women,

I think they're

pretty interested in fashion.

MAN: Bogie was saying, "You know

what I like about Paris?"

He says, "They don't bother you

over here."

He says, "You're a movie star.

So what? They ignore ya."

And we were in a car then,

and we stopped for a red light,

and this little Frenchman

with a beret looked in,

and he saw

and he recognized Bogart,

and he went up to the window

and he went "Bang, bang!"

INTERVIEWER:

How about the new picture?

You're going over to the deep,

dark continent to make it.

Yes, we're going over to Africa,

probably down

around Nairobi

and Northern Rhodesia.

Incidentally, we just found out

it was raining there,

so we may have to sh**t it

in Scotland, I don't know.

(BIRDS CHIRPING)

Ah, it's a great thing to have

a lady aboard with clean habits.

Set the man a good example.

A man alone, he...

he gets to living like a hog.

I was wildly excited, but Bogie

knew that John would find

the most inaccessible spot

in Africa as a location,

and he dreaded it.

He liked his life as it was.

Going to New York was all

the traveling he wanted to do.

The only thing I hated

was leaving Steve.

HUSTON: Bogart didn't like

any part of it. (CHUCKLES)

He was against it

from the word go.

He cursed me

for taking him places

and said he wouldn't go

for anybody else.

And maybe

there was something to that.

VIERTEL:

WORDS OF BOGART: John Huston

wanted everything perfect.

If he saw a nice close mountain

to photograph,

that mountain was no good.

If we could get

to a location site

without fording

a couple of streams,

walking through

a nest of rattlesnakes

and scorching in the sun,

then he said

it wasn't quite right.

We called him

"Hard Way Huston."

The food was so awful,

we had to drink Scotch

most of the time.

And Katie kept saying,

"Wouldn't it be marvelous if

we could stay here forever?"

Whenever a fly bit

Huston or me, it dropped dead.

I built a solid wall of whiskey

between me and the bugs.

She doesn't drink,

and she breezes through it all

as though it were

a weekend in Connecticut.

Oh, miss. Oh, have pity, miss.

INTERVIEWER:

Could you have happily married

Humphrey Bogart?

HEPBURN:

It never occurred to me.

INTERVIEWER: Was he a funny man

to be around?

Light-hearted? Serious?

Uh, he was serious.

He was enormously fair.

He was very much of a gent,

very well born.

-Frightfully good manners.

-Not a tough guy?

Not at all. The exact opposite.

What you being

so mean for, miss?

A man takes a drop too much

once in a while,

it's only human nature.

Nature, Mr. Allnutt, is what

we are put in this world

to rise above.

Miss...

I'm sorry. I apologize.

What more can a man do

than say sorry, huh?

WORDS OF BOGART: Such a waste.

Each of Humphrey's wives

was fittingly chosen

to accord with the progress

of his career.

When he began to act

and had so much to learn

about the theater,

he married Helen Menken.

Mary Philips

was exactly right for him

during the time he required

comfort more than inspiration.

But no one contributed so much

to Humphrey's success

as his third wife, Mayo Methot.

He found her at a time

of lethargy and loneliness,

when he might have gone

on playing secondary

gangster parts at Warner Bros.

He met Mayo,

and she set fire to him,

and blew the lid off

all his inhibitions, forever.

ANNOUNCER: Hollywood turns out

for the Oscar Awards

by the Academy of Motion

Picture Arts and Sciences.

The night is bright with stars.

MAN: I said,

"Well, I got a speech for you.

Will you say it?"

He said, "Yes, I'll say it.

What is it?"

"When they call your name

and you walk up

and you get the Oscar,

look at the audience

very dramatically

for about five seconds,

and then say, 'Well, it's about

time.'" But he didn't.

-The winner is Humphrey Bogart

in The African Queen.

-(CHEERING)

BOGART:

It's a very long way from

the heart of the Belgian Congo

to the stage

of the Pantages Theatre,

and I'm very glad to say

that it's a little nicer here

than it was there.

I, uh...

I just want to pay a slight,

as a matter of fact,

a very big tribute,

to Mr. John Huston

and Miss Katharine Hepburn,

because they helped me

to be where I am now.

-Thank you very much.

-(APPLAUSE)

WORDS OF BOGART:

Acting is a nice racket.

The words "movie star" are so

misused, they have no meaning.

The studios can make anyone

a star if they get behind them.

That's why I don't kid myself,

why I can't take myself

or the business seriously.

BACALL: 1952 found me

pregnant again.

We didn't have room for the new

baby in Benedict Canyon.

So as Bogie threw his hands

in the air, I went hunting

and fell in love

with the most beautiful house.

WORDS OF BOGART:

At Warners I had

one of the biggest contracts,

but it was restrictive,

and I thought I'd do better

on the outside.

I finally left. You never saw a

guy so happy to get rid of me.

STEPHEN: The whole studio

system, and the constraints,

were part and parcel

of why he started

his own production company,

Santana Productions.

Almost no one had

their own production companies.

My father was one of the first.

It's your move.

WORDS OF BOGART: I had some

wonderful years at Warners.

I realized

they were largely responsible

for what was to follow

in my career.

I miss my battles with Jack.

No one ever gave me

such good insults as he did.

BACALL: 1953 was

a very good year for us.

Bogie worked continually

and in good films.

I had gone back to work,

after three years, in a movie.

The film was titled

"How to Marry a Millionaire."

At the same time,

Bogie would be in Italy

for "Beat The Devil."

It would be

our first separation

in eight years of marriage.

We had no script

when Bogie arrived.

A very poor semblance

of a script.

In heaven's name, Billy,

say something.

HUSTON: I said, "Bogie, Jesus,

we may be making a big mistake

in going ahead with this."

And there was an opportunity

to cut our losses

and get out of the whole thing.

It was Bogie's company,

and for this reason,

I felt doubly responsible.

Bogie said,

"Why, John, it's only money."

WORDS OF BOGART:

Huston had an idea.

"Instead of trying

to do 'Casablanca'

or 'Falcon' over again,

we'll get Truman Capote

to write the screenplay

and make it a human picture

with lots of heart and humor."

Truman wrote like fury,

had the darndest

and most upside-down slant

on humor you'd ever heard.

If I loved you a thousand times

more than you say you love me,

it still wouldn't make

any difference.

I've got to have money.

Doctor's orders are

that I must have a lot of money.

Otherwise I become

dull, listless

and have trouble

with my complexion.

But you're not like that now

and you haven't any money.

It's my expectations

that hold me together.

-Driver. Driver!

-INTERVIEWER: When "Beat

The Devil" was first released,

and when the studios

got a look at it,

did they say, "What is this

supposed to be about?"

HUSTON: They certainly did,

and so did the audiences

and the critics

and everybody else.

INTERVIEWER:

And when did they begin

to realize that it was funny?

HUSTON:

It took three or four years

for it to begin to catch on.

And then, as you said,

it slowly grew into that...

into a cult image.

INTERVIEWER: Yeah. How did

Bogart and Capote get along?

They got along famously,

until I remember one night

they began to wrestle.

And, um,

quite surprisingly, Truman,

who's a little bulldog,

by the way,

pinned Bogie's shoulders

to the floor.

BACALL: Bogie and I formed a

group known as the Rat Pack.

In order to qualify, one had to

be addicted to non-conformity:

staying up late,

drinking, laughing,

and not caring what anyone

thought or said about us.

WORDS OF BOGART:

I've worked all my life

and I've had the applause.

I'll be damned if I know

why I work so hard.

Work is therapy, I guess.

It keeps me on the wagon.

I've said I'd like

to make enough money to retire

and that's all.

But I suppose I wouldn't

be happy doing nothing.

In "The Caine Mutiny,"

I play Queeg,

a man who was given a command

and was unable

to accept the responsibility.

Good afternoon, gentlemen.

WORDS OF BOGART: I liked Captain

Queeg. I felt I understood him.

Naturally, I... I can only cover

these things from memory.

If I've left anything out, why,

just ask me specific questions,

and... I'll be glad

to answer them one by one.

WORDS OF BOGART: Queeg was not

crazy. He was sick.

I don't know

whether he was schizophrenic,

a manic depressive

or a paranoiac.

Ask a psychiatrist.

But I do know that a person

that has any of those things

works overtime at being normal.

In fact, he's supernormal

until he's pressured.

Then he blows up.

I personally know a Queeg

in every studio in Hollywood.

ANNOUNCER: And now I know

that you're as anxious as I am

to find out what actor

has won the Oscar for the best

performance of this year.

The winner is Marlon Brando

for On The Waterfront.

WORDS OF BOGART: I came out here

with one suit, and everybody

thought I was a bum.

When Brando came out

with one sweatshirt,

the town drooled over him.

These actor studio types,

they mumble their lines.

I can't hear their words.

Why the hell don't they learn

to speak properly?

This "scratch your a*s

and mumble" school of acting

doesn't please me.

It's much heavier

than I imagined.

WORDS OF BOGART: I'm no longer

the flaming youth.

I have responsibilities.

I'm a married man

with two children,

and my wife is a very steadying

influence on me.

I don't think

I'm Bogart anymore.

-Oh, there you are.

-And here's Leslie.

WORDS OF BOGART: I'm probably

not a very good father.

It came a little late in life.

I don't understand them,

and I think

they don't understand me.

And all I can say is

thank God for Betty.

I don't think he really liked

being the father of a baby,

but I think as we got older,

we really would have gotten

into a groove with each other.

I think he would have been

a really good father,

and that's not to say he wasn't

when I was growing up.

He was just

kind of standoffish.

BACALL: 1956 was to be the year

that Bogie and I

were to make

our first film together

since "Key Largo"

eight years before.

We were both

looking forward to it.

We'd been married

ten and a half years by then.

Life seemed very good indeed.

Bogie came home one day

and told me

he'd run into Greer Garson

at lunch.

Greer had said

she didn't like his cough

and that he must go to see Dr.

Maynard Brandsma, her doctor,

an internist

at the Beverly Hills Clinic.

She actually dragged him there

for an examination.

BRANDSMA:

BACALL: Bogie asked

if it couldn't be postponed

until after the movie

was completed.

We were to start

in a week or so.

"Not unless you want a lot

of flowers at Forest Lawn,"

said Dr. Brandsma.

BRANDSMA:

WORDS OF BOGART:

I haven't been going out.

I'm supposed to sit here

and keep quiet.

I feel tired all the time.

I don't seem to have

any pep anymore.

Old age is catching up

with me, I guess.

BRANDSMA:

INTERVIEWER:

BRANDSMA:

BACALL: So the words

were spoken at last.

"It doesn't look too good."

I could not think

in terms of Bogie not living.

It was just

totally unacceptable.

A man's illness

is his private territory,

and no matter how much he loves

you and how close you are,

you stay an outsider.

WORDS OF BOGART: I have been

greatly disturbed lately

at the many unchecked

and baseless rumors

being tossed among you

regarding the state

of my health.

I have read that both lungs

have been removed,

that I couldn't live

for another half hour,

that I was fighting

for my life,

that my heart has been removed

and replaced

with an old gasoline pump.

I'm a better man

than I ever was,

and all I need now

is about 30 pounds in weight,

which I'm sure

some of you could spare.

And believe me,

I'm not particular

which portion of your anatomies

it comes from.

BACALL: For a couple of weeks,

our life was almost normal.

Leslie had her fourth

birthday party out of doors.

We spent Labor Day weekend

on the Santana

and had a quiet, happy time

in Catalina.

INTERVIEWER:

MAN:

INTERVIEWER:

NOKS:

INTERVIEWER:

NOKS:

INTERVIEWER:

NOKS:

STEPHEN: I think the clearest

memory I have of my father

is being on the boat.

I can see him laughing.

My father loved the water

as much as he loved anything.

It was his solace,

the way he rejuvenated himself.

That was where he liked to be

more than anything else.

HYAMS: I went upstairs, and

his valet was dressing Bogart,

who was lying

in the big double bed,

and he put

Bogart's trousers on,

and then he put

a smoking jacket on.

HUSTON: And he was too weak

to even be lifted

down the stairs.

There was a dumbwaiter,

and he used to crowd himself

into this dumbwaiter

and come down

to the first floor,

where he was then

put into a chair

and wheeled

into the drawing room.

It was a very social gathering,

and he would sit there like this

for an hour or two,

without really sipping,

'cause he didn't have

the strength to lift the glass

or light the cigarette.

I don't think any of us knew

until almost the very end

what tremendous courage it took

for Bogart to get there,

sit in that chair,

and for an hour

try to be a host.

That's the last picture

I have of Bogie.

Um... And quite in keeping

with... with the image that...

that I have of him altogether,

his whole life.

STEPHEN: I remember him

coming down in the dumbwaiter

and being rolled out,

and, you know,

his friends would come in.

He didn't want us

to see him like that,

so we were not allowed

to really see him that much

during that year.

HEPBURN: Spencer and I

went to the house,

we talked for a while,

and Bogie was entertaining

as always.

And he was sitting in a chair

in his bedroom,

sitting in a wheelchair.

And then we got up to go,

so as not to exhaust him.

And, uh, I kissed him goodbye,

walked over to the door,

and Spencer walked over

and patted his shoulder

and said, "We're on our way."

And Bogie reached up with

his hand, patted Spencer's hand,

looked at him and said,

"Goodbye, Spence."

BACALL:

Somewhere around midnight,

I kissed Bogie goodnight,

this time, for the first time

in eleven and a half years

of married life,

with no response from him.

I lay down on the bed,

and for the first time

in almost a year,

I sobbed and sobbed and sobbed.

(THUNDER CRASHES)

(CHURCH BELL TOLLS)

At no time during

the months of his illness

did he believe

he was going to die.

Not that he refused

to consider the thought.

It simply

never occurred to him.

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.

His life was a rich, full life.

We have no reason

to feel any sorrow for him,

only for ourselves

for having lost him.

WORDS OF BOGART: I like people,

yachts, chess, politics.

A good drink.

A good wife. Nice kids.

I had those.

(THUNDER CRASHES)

Don't take him,

he's no good

Trust me, I'm better

He won't hate you

like I could

He's too lovely

Take me, I'm bad

Trust me, I'm unforgiven

He won't entertain you

like I would

He's too lovely

No, no, no, no

He's not the one you wanted

Take me, take me

Instead