To Have and Have Not (continued)

No surprise, it's also one of the favorites on this end of 'Jimandjoan'. Well, we did watch it together. Again. And I enjoyed it as much this time around.

For me, this is as good as Casablanca, a film which preceded it by three years, and which it mirrors in many ways. I'm sure at some point we'll discuss that other great Bogart classic in detail. Oddly enough, it doesn't seem like a copy or remake in any way, which is all the more remarkable, considering all of the similarities. Among them: World-weary Bogart is introduced as spending most of his time in a bar (and friendly with the resident world-class piano playing crooner); only caring about himself at first, he gradually finds his way toward assisting others in fighting the Nazi-controlled French forces. And the quotes are just as good. (If you're even reading this blog, I'm sure there's no need to even restate Bacall's legendary 'whistle' quote.) The biggest difference? Bogey gets the girl in this one. (He gets her in real life, too!) But, if you've seen both movies, that's as it should be. Bacall's 'Slim' is Bogey's sassy match in every way. You don't question them winding up together. In Casablanca, we know Bergman already broke Bogey's heart once, and we don't mind the selfless choice he makes at the end. (Much more on that one in the future, most likely!)

As Joan pointed out, the movie plot deviates greatly from Hemingway's novel (one of my favorites). That Harry Morgan is also a down-on-his-luck fishing boat captain - 'in', not 'out of', Key West - and also involved with smuggling human cargo (here, from Cuba to Key West). But, although Bogart fits the literary character perfectly, in print he is not 'transformed' in any way; his tale is one of survival from beginning to end. He isn't going off with Lauren Bacall. In fact, he's going nowhere. And speaking of endings (and I find this fascinating); if you've read the novel, and have seen all or most of Bogart's classics, you should recognize the ending of Key Largo (the last of the Bogey-Bacall classics) as having been the true climax of Hemingway's To Have and Have Not! But again, more on that classic another time.

And the screenplay was actually co-written by a rival of Hemingway's, and one of the most respected authors of the 20th century in his own right, William Faulkner. (The 'whistle' line comes from Faulkner.)

I don't mind Joan's critiquing of the minor plot points...much. But since I brought it up... Why wouldn't Slim be 'domestic' enough to get some hot water? She stays in character while doing it, with her snippy one liners. And, we don't know her background. It was purposely left mysterious. At the police station, I don't think the police were concerned about her as much as Harry Morgan, whom they suspected of being contacted by the Free French. There's nothing that endangers my 'willing suspension of belief'. But then, Joan always paid attention to the little details. (Too much attention?) I might pay for this comment later...

Jim