Summer Reading Challenge: To Have and Have Not

The novel and film version of To Have and Have Not are really alike in name only. Director Howard Hawks urged Ernest Hemingway to make a film out of what he (Hawks) considered to be his worst novel! The two worked together on a story that was loosely based around how Harry Morgan met his wife Marie (though the Marie of the film bears almost no resemblance to the Marie of the novel). The setting was changed from the depression era to World War Two, and instead of a grim story about poor vs. rich, it became a romantic WWII adventure film.

Hemingway's novel is far grittier than the film version. The story revolves around a series of vignettes centred around the character of Harry Morgan, and the contrast between the 'haves' and the 'have nots'. Set in during the American depression the novel presents the 'have nots' as being forced into numerous illegal activities in order to survive, the 'haves' on the other hand are wealthy people who come to the Keys for holidays. Harry and his friends face a daily life and death struggle, not only to provide food for their families, but also against armed gangsters. Hemingway is scathing of the 'haves' who's problems, usually romantic, seem petty in comparison to the struggles going on all around them.

The Harry Morgan of the novel is a ruthless, complicated man. On the one hand he kills without hesitation whenever he feels threatened, and on the other he is a dedicated family man with a wife and three children.The novel is a grim world filled with violence, racism and alcoholism. It's every man for himself in a world that gives nothing and forgives no one.
In contrast the film, though set during the second world war, presents a world of casual glamour. The bar is far more appealing than the one in Hemingway's novel, and Lauren Bacall's sensuality and Humphrey Bogart's tough guy image make the film one of romantic escapism.

 The film is best remembered for being the screen debut of Lauren Bacall, and the beginning of her legendary romance with Humphrey Bogart. The film is sensuous and suspenseful, but only the first ten minutes or so bear any resemblance to the original novel. Howard Hawks apparently did not like stories about losers, so consequently the Harry Morgan of the film ends as a hero. In some ways Hemingway's novel is more realistic, but both film and book should be enjoyed for their own merits, and should really be viewed as seperate entities.
This also marks my final entry for the Summer Reading Challenge! I have thoroughly enjoyed taking part, and am pleased I have completed all six books. Thanks to Raquel at Out of the Past for hosting such a great challenge.

"Above the roar of the motors and the high, slapping rush of the boat through the water he felt a strange, hollow singing in his heart. He always felt this way coming home at the end of a trip." p. 72

"Since he was a boy he never had no pity for nobody. But he never had no pity for himself either." p. 79

"He shut his eyes. It had taken him a long time to get it out and it had taken him all of his life to learn it." p. 178

"I'm afraid if I think about him on purpose I'll get so I can't remember how he looks. That was when I got that awful panic when I couldn't remember his face." p. 203

Dark Passage (1947)

"I was born lonely I guess"

Dark Passage was the third of four films made by Humphrey Bogart and Lauren Bacall. It tells the story of Vincent Parry (Bogart), a man wrongly convicted of killing his wife. He escapes from prison and is helped by a young woman, Irene Jansen (Bacall), who has taken an interest in his case. Parry accepts an offer to have plastic surgery on his face, and with this new identity he sets out to clear his name.

The first half of the film is very atmospheric. The audience does not see Parry's face, until after his operation, so it is shot from his point of view. When he receives plastic surgery it creates a strange atmosphere, with the bandages wrapped around his head, Parry resembles an Egyptian mummy. The stark white of the bandages stands out vividly against the darkness of the night.

One of the main themes in the film is loneliness. All the characters are lonely in their own way. Parry is seemingly alone in his quest for freedom, Irene has lost all her family and has become attached to a criminal case, Bob (Bruce Bennett) is looking for security with Irene after the breakup of his own relationship, the taxi driver makes frequent references to his own loneliness, the surgeon was fired from the medical practice he worked in, and we see him working under the cover of darkness. The controlling Madge (Agnes Moorehead) is also lonely but has used this to manipulate everyone around her. One of the starkest scenes of loneliness is when Parry visits his old friend George. George lives alone in a dark dinghy flat, he dreams of moving to South America to play his trumpet. Interestingly all the characters wish to escape to either Mexico or South America, warm sunny places, far from the darkness of San Francisco. 

The film is beautifully shot and Bacall is stunning, her rich lifestyle contrasting with the drabness of the rest of the city, the empty hotels and diners Bogart frequents. It is not one of Bogart's finest films, but he gives a solid performance, and the strangeness of the subject matter gives the story weight. Bacall later wrote in her autobiography that during filming Bogart began to lose his hair due to alopecia areata, and by the time filming ended he was wearing a wig.

4/5

Key Largo (1948)

Key Largo (1948) is a gangster/ drama film directed by John Huston and starring Humphrey Bogart, Lauren Bacall, and Edward G. Robinson. It takes place in Key Largo Florida, with Frank McCloud (Humphrey Bogart), an ex soldier arriving at a hotel owned by one of his late comrades family. There he finds his friends wife Nora Temple (Lauren Bacall) and his father James Temple (Lionel Barrymore) are unwittingly housing infamous mobster Johnny Rocco (Edward G. Robinson) and his gang. As a hurricane approaches McCloud and the Temple's are held hostage. (Spoilers ahead!)

Tensions mount as Rocco becomes increasingly agitated with the storm, Nora and Frank. He is hoping to go to Cuba with money earned from forgery. His mistreated girlfriend Gaye (Claire Trevor), begins to realise over the course of the night that Rocco is no good, and after Frank shows kindness towards her, she helps him in return. After a policeman and two innocent victims are killed as a result of the gangsters presence, the hurricane finally passes, Rocco receives his money and is ready to depart. The man he hired to take him to Cuba however has left during the storm. And consequently Rocco forces McCloud to take them instead. 

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With the aid of Gaye, McCloud secures a gun, and leaves Key Largo with the gangsters. The final climatic battle on the boat spells the end for Rocco and triumph for McCloud, who rings Nora to tell her he will be returning to Key Largo. 

The film was the last of four films Bogart and Bacall made together, and I must admit I wish Bacall had had a larger role! Claire Trevor won the the academy award for best supporting actress for her role as Rocco's girlfriend, and her performance is one of the highlights of the film. The escalating hurricane adds a different level of tension. 
This was my first time seeing a Bogart and Bacall film and I am looking forward to watching their other collaborations. Any recommendations? If anyone is reading, I would love to hear from you in the comments! 

3.5 / 5
Also here is the trailer for the film! Enjoy!