But that didn’t stop Howard Hawks from deciding that it could be a basis for a great film, casting Bogart and Lauren Bacall in an unforgettable pairing. Bacall is so perfectly well suited to noir that the pair’s chemistry simply blows that of Casablanca out of the water…
But it wasn’t quite that simple. The book was a bit of a turkey, so the production had to really rework it to get it right, and not much of the original material survives in the film. Of course, having William Faulkner helping with the screenplay can’t have hurt, either – even if he and Hemingway were anything but best buddies.
Let’s stop to think about that for a minute. When was the last time you heard of a Hollywood movie which had TWO Nobel-prize-winning writers involved in the screenplay? Granted, neither of them had won when the film was produced, but the choice of a “difficult” writer such as Faulkner for adaptation would have meant that a lot of the dialogue was deeper than normal.
That is not something that would happen today – the blockbuster system neither needs nor is interested in Nobel Prizes, and difficult dialogue is strictly verboten. I believe that’s one of the main reasons that today’s films last a lot less in our memory than the old classics – and the reason that recent years are not referred to as “Hollywood’s Golden Age” in the way the thirties and forties are.
Of course, both Bogart and Bacall are dead, too, and don’t look like they’ve been replaced – although it would be both unfair and inaccurate to say that modern film is devoid of giants. That isn’t true – but the giants are a lot more careful of their image, and ambiguous characters are not all that common anymore among the true superstars.
I suppose that, in much the way that the thirties were the classic era of the screwball comedy, the forties were the era of film noir (this one isn’t exactly textbook noir, but it’s close enough) and Hollywood moved beyond it. But looking back on the era now with modern eyes, it’s an amazingly entertaining body of work – and the Hays Code probably helped by forcing directors to up the innuendo so that audiences could read between the lines.
Not that much of that is necessary while watching To Have and Have Not. The sexual energy between Bogart and Bacall – not to mention the sheer sultry throaty presence of Bacall herself – were enough to telegraph intentions, and give us a much more believable story of damaged people making the most of their situation than the one in Casablanca. Yeah, despite being unabashed fans of Rick’s Café, we actually wrote that last sentence.
It’s hard to call this one unappreciated or forgotten, because it still gets its good share of late night air time, but it’s definitely worth rediscovering, as a lot of it is actually better than its more famous Bogart stablemate.
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