High Sierra (Keepcase)
by Raoul Walsh
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DVD Cover Information
Actor: Alan Curtis, Arthur Kennedy, Humphrey Bogart, Ida Lupino, Joan LeslieDirector: Raoul Walsh
Brand: BOGART,HUMPHREY
Cinematographer: Tony Gaudio
Editor: Jack Killifer
Producer: Hal B. Wallis
Producer: Mark Hellinger
Writer: John Huston
Writer: W.R. Burnett
DVD: Region Code 1
Audio: English (Original Language); English (Subtitled); French (Subtitled); Spanish (Subtitled)
Format: Black & White, DVD, NTSC, Subtitled
Picture Format: 1.33:1
Running Time: 100 minutes
DVD Release Date: 2006-10-03
Audience Rating: NR (Not Rated)
Studio: Warner Home Video
Product features:
- Humphrey Bogart and Ida Lupino star in this tragic study of an American gangster whose hard-boiled persona finds itself at war with his compassionate side - a side that ultimately will be his downfall.Running Time: 100 min. Format: DVD MOVIE Genre:?DRAMA Rating:?NR Age:?012569794689 UPC:?012569794689 Manufacturer No:?79468
Movie Reviews of High Sierra (Keepcase)
Movie Review: Good acting; weak plot
Summary: 3 Stars
Humphrey Bogart is always a pleasure to watch. Here, he's the tough but sensitive guy who has just been issued a parole and returns for another jewel heist. Along the way he falls in love with a sweet farm girl with a club foot, pays for her operation and pals around with her old-timey family in between meeting mobsters to plan for the job. The yokels he's been assigned to work with him have picked up a dime-a-dance girl in LA. (Ida Lupino). He wants her to go home but somehow she convinces him to let her stick around. Then, a very cute, but allegedly bad-luck dog attaches himself to Earle(Bogart).
Earle proposed marriage to Velma, the farm girl, after her foot is fixed but she is improbably attached to a slick guy with a pencil mustache (always a bad sign in these pictures) who drinks too much and she tearfully refuses Earle's proposal, much to the dismay of Pa who knows who's who. So Earle falls back on Marie, the dance hall girl and quickly falls in love with her. Well, he's been in prison for eight years so I guess he's sorta vulnerable in the romance department.
Mixed in with this human-interest strain of the plot, is the actual crime. It goes from bad to worse, no doubt due to the presence of Pard, the bad-luck dog, and Earle finds himself stranded in a cranny of the highest peak in America, with an audience of hundreds, including Marie, awaiting the outcome at the bottom.
It's a pretty bad story and the only reason I hung in there were the nice performances of both Bogart and Lupino. Lupino, especially, was very convincing as the tough but pathetic girl who had nothing in the world but this criminal she met up with in the motel in the Sierras.
If you can stand the plot, or if you are a died-in-the wool Bogart fan, you will probably like this. He certainly made better films later.
Summary of High Sierra (Keepcase)
Humphrey Bogart and Ida Lupino star in this tragic study of an American gangster whose hard-boiled persona finds itself at war with his compassionate side - a side that ultimately will be his downfall.This 1941 melodrama is memorable for both its strong central performances and their intimations of how the previous decade's crime dramas would evolve into film noir--no accident, given the solid direction of veteran Raoul Walsh and the hand of screenwriter John Huston, who teamed with the author of its novelistic source, W.R. Burnett (Little Caesar). In the central character of Roy "Mad Dog" Earle, a fictional peer to John Dillinger, Humphrey Bogart finds a defining role that anticipates the underlying fatalism and moral ambiguity visible in the career-making roles soon to follow, including Sam Spade in Huston's directorial debut, The Maltese Falcon.
Earle suggests a prescient variation on the enraged sociopaths that were fixtures of the gangster melodramas that shaped Bogart's early screen image. Pardoned from a long prison stretch, the weary robber is clearly more eager to savor his new freedom than immediately swing back into action. But his early release has been engineered by a mobster who wants Earle to pull off a high-stakes burglary, setting in motion a plot that is a prototype for doomed-heist capers--a small, yet potent subgenre that would later include Huston's The Asphalt Jungle and Stanley Kubrick's The Killing.
What gives High Sierra its power, however, isn't the crime itself but Earle's collision with the younger, brasher confederates picked to help him, and the hard-edged but vulnerable taxi dancer they're competing for, played forcefully by Ida Lupino, who actually received top billing. Her attraction to the reluctant Earle is complicated by a convoluted subplot designed to showcase then starlet Joan Leslie, but the movie finally moves into its most gripping moments when the wounded Earle, pursued by police, flees ever higher toward the mountains. His final, suicidal showdown would become a clich? of sorts in lesser films, but here it provides a wrenching climax sealed by Lupino's vivid final scene. --Sam Sutherland
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