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Mercredi, août 18th, 2010
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Familiarity can sometimes numb us to how very exclusive a movie is, and that is certainly the case with THE AFRICAN QUEEN. Most polls that have been done in fresh years typically denote Humphrey Bogart as the greatest movie star of all time, and frequently Katherine Hepburn gets the number two slot (and always gets the number one slot for women) . Yet, these roles are almost antithetical to everything else they ever did. Bogart, the colossal man of action of CASABLANCA and THE MALTESE FALCON and THE Astronomical SLEEP, is reduced to a dirty, disheveled, lewd, drunken captain of a remarkably inconsequential boat with the profoundly self-mocking name of “The African Queen.” Hepburn, who has made her career playing unbridled, liberated, and self-assertive current women, here is a prudish (though only for a while), repressed, tightly afflict spinster. But despite this highly novel pairing, the film was one of the finest that either was ever in, netting Bogart his only Oscar (and unbelievably, only one of three nominations) and Hepburn what was something like her 200th Oscar nomination. It seems perverse that the only other two nominations were for Best Director (Huston) and screenplay (the tall James Agee and Huston) . I’m not obvious how a film can come by nominations for four of the top five awards and not regain nominated for Best Recount, but it did (the five films nominated that year were the deserving AN AMERICAN IN PARIS [the winner], the somewhat censored A STREET CAR NAMED DESIRE, A Plot IN THE SUN [which has not old-fashioned well], and the considerably less deserving QUO VADIS and DECISION BEFORE DAWN) .
Today we rob filming on state for granted, but in the 1940s and 1950s, few producers and directors opted for filming on the situation upon which the film was supposed to bewitch spot. Films might go to a noted locale and shoot a couple of scenes for realistic flavoring, as with a couple of scenes in ON THE TOWN or AN AMERICAN IN PARIS. Many Westerns had been shot on status, but that was no titanic challenge given the end proximity of Hollywood to Western locales. John Huston had previously filmed THE Adore OF SIERRA MADRE in Mexico, but going to the Congo and Uganda for extensive filming had rarely been attempted (sorry, all those Tarzan movies were filmed in California) . It was a spectacular undertaking (which Katherine Hepburn recorded in a book she wrote about making THE AFRICAN QUEEN) .
There is a war area that provides the setting for the film, but to be impartial it really isn’t very indispensable. What is crucial is the mighty dynamics between Bogart and Hepburn, as they go from loathing one another, to liking, and then to loving. It has to be the most unlikely esteem myth in the history of film, and yet somehow these two mountainous actors not only manage to sell it, but create it quietly majestic. There is not distinguished in the draw of cast to jabber of, apart from the two leads. Robert Morley manages a microscopic but memorable portion arrive the beginning of the film, but Bogart and Hepburn utterly dominate the film’s onscreen time. Luckily, they have no peril pulling it off.
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As outlandish as this film was, there had been attempts to form it into a film for quite some time. If one is familiar with Bette Davis’s career, there had been a couple of attempts to film it with her in the lead with various leading men (including James Mason) . But surely Katherine Hepburn is the perfect Rose Sayer. Like in THE PHILADELPHIA Legend, she can communicate self-righteousness better than anyone. Davis would only have managed egotistical haughtiness. But I’m obvious everyone would agree that the casting ended up being for the best.
Bogart and Hepburn play two diametrically opposed personalities in this classic film position during World War I. She is a prim and first-rate, middle-aged English missionary. He is a gin-soaked river rat living by trading up and down the Congo River from a ramshackle obsolete steamboat named The African Queen. They are thrown together by a German offensive that leaves them isolated and in anxiety of being captured and held as prisoners of war (or worse, they could be shot as spies) . To hurry, they must fade down the river past the Germans. What follows is allotment comedy, portion tense drama, and allotment high adventure. The river and its wildlife pose as great of an obstacle as the Germans, and Bogart and Hepburn must not only learn to accumulate along, but to trust in, and rely on, each other to survive.
This is a extraordinary movie. The acting is excellent (Bogie got an Oscar for “Best Actor”), the myth is good, and the scenery is pleasing (it was shot on place) . They unbiased don’t acquire form them any better than this, and I can’t imagine any reason why anyone would NOT want this in their collection. Very highly recommended.
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