All language subtitles for Bogart.Life.Comes.in.Flashes.2024.720p.AMZN.WEB-DL.DDP5.1.H.264-FLUX

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.

Bogie had those
rugged, masculine looks

that Americans seem
to identify with.

He was a rugged individual.

He could trade
ripostes and dialogue.

And the nastier the better.

Bogie.

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.

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.

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?

It seems so strange

that after 44 years
I should fall in love

when I thought it could
never happen again.

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.

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.

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.

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.

I remember both of you

are natives of New York.

Do you miss this
big town very much?

- No.
- Yes.

Wait a minute.

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.

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.

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.

And I lived up on 103rd
Street in West End Avenue.

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.

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.

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.

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 goddamn 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.

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.

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."

The bastards 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.

I didn'’t care to face the
old man, so I joined the Navy.

The United States had just
entered the First World War,

and it seemed a good
opportunity for me

to cash in on my
fondness for water.

I was sorry that the war
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."

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.

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.

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 illegal 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 Captive," it'’s a
play pretty explicitly

about the love
between two women.

"The Captive" 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.

By the end of the 19th century,

violets had become
associated with lesbianism.

"The Captive" introduced this to
the entire reading American public.

Helen certainly did a lot

for the lesbians of America.

Women would send
her slave 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.

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 Captive."

The play had been
running undisturbed

for six months.

Then Miss Mae West
and her troupe

were hauled off to jail.

Ooh. Lovely tie.

The district attorney
raided "The Captive,"

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.

And so I was carted
off to court,

and the show was closed.

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.

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.

We quarreled over the most
inconsequential things.

What started out just as
a difference of opinion

would suddenly become
a battle royale.

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.

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.

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.

"Suppose you try and stop me."

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.

Mary was a mixture of
New England and Irish,

and she furnished just the
sort of balance wheel I needed.

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.

Bogie was kind of
embarrassed because

he didn'’t have any job.

Wasn'’t making any money.

Bogie was a hell
of a chess player.

So they offered him a dollar
a game to play the people.

That'’s the way he
made his money then.

- 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.

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.

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.

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.

Hey, you! Some more beer!
This time it'’s on me, boys.

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.

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.

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.

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 killer.

- There'’s a picture of Duke Mantee.
- Six killed?

Hmm.

- Did he do all that?
- Oh, yes. Yes, indeed.

Well, he doesn'’t look
very vicious, does he?

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.

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.

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.

I'’ll be seeing you soon.

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 bastards
had me in another.

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.

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.

This was the first time
I'’d really been able

to support Mary.

Up to then, Mary had
done all the support.

Mary was going to do "The
Postman Always Rings Twice."

Bogie was sore at her.

I asked her to stay in
Hollywood and start a family.

I was becoming accustomed

to my name in lights
outside the theater.

She went back to New
York to do "Postman."

You got something
here, my friend.

I'’d say you deserved
her, only I don'’t think

any man'’s worth any woman.

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.

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.

I found out about
Portland'’s Rosebud

in an old scrapbook.

She had started off on
Broadway as a huge success.

She was young and beautiful
and was highly sought after.

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.

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.

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.

After the onset of the
Production Code regime,

Hollywood adheres to a very
strict set of moral commandments.

No profanity on screen. No
homosexuality on screen.

♪ And on a great big battleship
you'’d like to be... ♪

♪ Working as chambermaids, ah ♪

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'’.

Mae West is the
big star of 1933,

and the big star of
1934 is Shirley Temple.

Then come here.

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.

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...

Their wedding night was
kind of incredible because

Mayo and Bogie had another one
of the fights they always had.

So Bogie went off someplace to
get drunk and Mayo slept with me.

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.

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.

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.

I plan the meals and take
care of Bogie'’s clothes,

attend to buttons and mending
like a most admirable hausfrau.

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.

I'’m not interested
in my career anymore.

Humphrey'’s career
is my interest.

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.

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."

Crazy!

- Any cop... cop...
- Here'’s one rap you won'’t beat.

Hey...

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 bastard 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.

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.

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.

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."

I'’m awful sorry for
the way I'’ve acted.

You got nothing
to be sorry about.

Yes, I have, nagging at you
and 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."

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.

I'’d always been
a loyal citizen.

I resented the intrusion

and the insinuation that
I was anything else.

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.

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...

If you'’re too tame,
you'’re half dead.

Bogie and I like
excitement. We need it.

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.

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 gang
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.

"The Maltese Falcon" was the
first of the private eye movies.

I wanna talk to
Mr. Cairo. Joel Cairo.

I had a lot going
for me in that one.

First there was 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.

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 war
propaganda during the Second World War

takes traditional
old Hollywood genres

and adapts them for the
purposes of the war effort.

Rick, there'’s gonna be
excitement here tonight.

We'’re going to make
an arrest in your café.

- Again?
- Oh, this is no ordinary arrest.

A murderer 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.

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.

Play "La Marseillaise." Play it.

He'’s against all the
pomp and the officialdom,

and the sleazy operations
of the establishment.

♪ 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.

When I come home from
working on "Casablanca,"

Mayo is ready for me.

Sometimes I think she
lies in ambush for me.

We used to drink a little
bit together in those days.

And then one night I took him
home when he lived with Mayo.

When she took the shots at
us. She did it three times.

One night I brought him home
because he was too stoned to drive.

He got home late. She came out
on the balcony and she had a .45.

I hit the ground. And he got
up and said: "You missed."

And I said: "You got to be
out of your goddamn gourd.

Goodbye, Bogie!" And I left.

But there was three different
times she shot at him.

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.

Bogie never was, in my
opinion, a tough guy.

The only time he was tough
was when Mayo made him tough.

She was a very colorful girl,
and, unfortunately, an alcoholic.

She was an incredible
lush when she drank.

You could always tell when
Mayo had crossed the line.

She started to sing
"Embraceable You."

♪ 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 war.

That'’s the American Red Cross.

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.

Jake Rosenstein was
sent by Alex Evelard

to try to get Bogie out of the bathroom
cause she was standing outside with a gun.

Mayo, I think, she just gave
up and left or whatever,

but they got Bogie out of
the bathroom and to the set.

Mayo would call me for help.

She called me up and said: "You'’d
better get up here right away.

Bogie'’s lying on the floor with a
knife in the middle of his back."

"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.

I got a call one
morning at 3 AM.

- "Get here right away."
- "Why?"

"Well, I just set
fire to the house."

I said "Call the fire
department, don'’t call me."

Betty had no fear of Mayo.

She had no fear of anything.

And Betty was so young

and so unaware of the situation.

Because everybody was
terrified of Mayo,

this .45 thing that she would pull
and one day, you know, hit somebody.

It was a fool rushing in.

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: Mayo actually
was a hell of a good sort.

But she was diagnosed as
a paranoid schizophrenic.

I remember him saying:

"I don'’t want to break up my marriage."
"I don'’t want to start again at 45."

"I think Mayo has gone
way beyond anything

that I could ever
have done for her."

She actually didn'’t
have much chance.

Come into my boudoir.

We started shooting
"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 shooting,

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.

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.

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.

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.

I never believed that
I could love again,

for so many things have
happened in my life

that I was afraid to love.

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.

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.

- 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.

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.

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.

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.

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.

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.

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.

The question before
this committee

will be to determine the extent
of communist infiltration

in the Hollywood motion
picture industry.

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.

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?

I believe I have the right to
be confronted with any evidence

which supports this question.

I should like to
see what you have.

It'’s unfortunate and tragic that
I have to teach this committee

the basic principles
of Americanism.

That'’s not the question!

It is an invasion of the right of
association under the Bill of Rights.

Please be responsive
to the question.

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.

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."

Bogart, because he was the
most famous of the lot,

is the one who started
taking the criticism.

Tremendous pressure
was put on him.

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.

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 guns.

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.

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.

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.

What was the name of that song?

"The Bold Fisherman."

It'’s an old sea shanty that
my father used to sing to me

when I was about
eight years old.

Would you sound a bell
note for Mr. Bogart

so he could start this
immortal song of the sea, hmm?

♪ There was a bold fisherman
set sail from off Billingsgate ♪

♪ To catch the bold piggie
and the gay mackeroo ♪

♪ But when he got off Pimlico
The wynds did begin to blow ♪

♪ And the little boat
wibble-wobbled so ♪

♪ That overboard
went he singing ♪

♪ Twinky deedle dum ♪

♪ Twinky deedle dee ♪

♪ Was the highly interesting
song that he sung ♪

♪ Twinky deedle dum
Twinky deedle dee ♪

♪ Bold fisherman ♪

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.

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.

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?

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.

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.

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.

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.

Was he one of the first
people to show up?

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.

Now, did Betty
come ever with him

at that early hour?

No. She would join him later.

When Betty was with him,

was it a different
atmosphere at the table?

No, she held her own.

- Go get yourself a drink and cool off.
- Okay.

I don'’t trust any bastard
who doesn'’t drink.

People who don'’t drink are
afraid of revealing themselves.

Here'’s happy days.

Bogie, when he was drunk, he
was a totally different fellow.

He had one thing that remained constant
and that is his needling of phonies.

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.

That'’s right, you
either had a rapport,

and you either would
communicate and he liked you,

or he didn'’t like you.

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.

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.

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 kill him!

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!

Don'’t, Dix, please! Don'’t!

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.

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.

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 Bergère, the
style salons or what?

For me? Well, as it
is for most women,

I think they'’re pretty
interested in fashion.

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!"

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 shoot it
in Scotland, I don'’t know.

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.

Bogart didn'’t like
any part of it.

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.

He loved John. And John loved him.
They had a very special relationship.

Bogie would always say:

"This fucker, you know he doesn'’t
give a shit about any of us."

You know, he still liked him.

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.

Could you have happily
married Humphrey Bogart?

It never occurred to me.

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?

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.

Hollywood turns out
for the Oscar Awards

by the Academy of Motion
Picture Arts and Sciences.

The night is bright with stars.

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.

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.

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.

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.

She'’s the one who
wanted the big house.

She'’s the one who really pulled
him into... to being social

and to having many
more people around.

And he began to like it.

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.

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.

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.

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.

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."

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!
- 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?"

They certainly did, and
so did the audiences

and the critics
and everybody else.

And when did they begin to
realize that it was funny?

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.

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.

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.

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.

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.

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.

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.

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 ass and mumble"
school of acting doesn'’t please me.

It'’s much heavier
than I imagined.

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.

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.

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.

Something was going on. Either in
his esophagus or in his trachea.

We were able to get a biopsy out
of it and this was positive for

cancer, for carcinoma.

So I told Bogie that he did have
a malignant ulcer in his esophagus

and this called for
a double operation.

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.

Unfortunately, when
we got into the chest,

we found that there were already
lymph glands that were involved.

I personally told Bogie
that we had it all out,

which to a degree was true
because the ulcer was out.

In cancer, honestly, you
never know if it'’s all out.

And because of the cough, we
couldn'’t give him too much sedation.

So he had a real awful time.
But he never complained, never.

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.

He again started complaining
of pain in his back.

An X-ray then showed that the
cancer had spread into his vertebra.

What was Betty'’s
reaction to all this?

Was she any more privy than
Bogie, or did she know the truth?

She knew the truth.
She did know the truth.

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.

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.

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.

He just had this
tremendous courage.

There was always
this thought behind

that he was, you know, maybe
he was going to lick it.

He just seemed to be squeezing every
last bit of life in on the boat.

But it seemed to
me that the sailing

was the thing that kept
him alive the longest.

Oh, yeah, absolutely.

The last year

I think he spent four
days a week on the boat.

Towards the end, did you ever
sail just the two of you alone?

Oh, yeah. Three months
before he died, we sailed.

And that was the last time?

Yeah.

With just you and him?

Stephen was with us.

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.

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.

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.

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.

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."

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.

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.

I like people, yachts,
chess, politics.

A good drink.

A good wife. Nice kids.

I had those.

♪ 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 ♪