HE KILLED... and there on the crest of Sierra's highest crag... HE MUST BE KILLED!
Given a pardon from jail, Roy Earle gets back into the swing of things as he robs a swanky resort.
Given a pardon from jail, Roy Earle gets back into the swing of things as he robs a swanky resort.
El último refugio, Висока Сьєрра, Una Pallottola Per Roy
Although a conventional framework governs this Raoul Walsh directed heist movie, the screenplay by John Huston manipulates it enough as for it not to feel that way whatsoever. Based on a W.R. Burnett novel which sees Humphrey Bogart portraying Roy Earle, an infamous criminal receiving a pardon, arranged by powerful organised crime kingpin and former boss Big Mac. His release is to accomplish a task of leading a robbery from a prosperous hotel with a couple of immature and inexperienced criminals who he discovers has involved themselves with Marie, a stripper played delightfully by Ida Lupino.
Earle attempts to create a workable situation for the task at hand while a mutual attraction unfolds between him and the seductive Marie, and…
Of all the 14 karat saps... starting out on a caper with a woman and a dog.
Another important film for Humphrey Bogart's career and another one that no one particularly wanted him to star in. The script was originally written (and rewritten) with Paul Muni in mind, but he turned it down when he wasn't satisfied with it. Bogart lobbied for the role but Warner Bros offered it to George Raft instead. Finally when Raft also turned it down, the studio gave it to Bogart against protests from director Raoul Walsh. This wasn't the last time Bogart would take a role turned down by Raft and the next one would be even bigger for his career, The…
“High Sierra” is Humphrey Bogart and Ida Lupino setting the stock standards for the next decade of noir. Also, it was Bogart’s genius excuse to make a whole film into ‘bring your dog to work day.’
Bogart’s turn in “Sierra” as former bank robber Roy Earle blends the wild 30s Hollywood gangster spirit into a more nuanced portrait of an unsuccessfully reformed criminal. Where movies made lawbreakers part of the rebellious cool of Americana in the decade prior, the cons were generally little more than archetypical tricksters. They had only foibles; not humanity.
Bogart’s Earle is a wiseguy with a soul. And a cute dog (Bogart’s own; Zero). It’s Bogart taking everything he’d learned in the Warner gangster stable and imbuing…
This gets a bit Treasure of the High SierrAce in the Hole towards the end, but it features strong performances by Humphrey Bogart and Ida Lupino. There is an initial romance between Bogart and Joan Leslie. The character Velma has trouble walking, and the actor Joan has trouble crying (oof, that was awkward). The script was co-written by John Huston, and it’s pretty good, but it’s tough watching Lupino transform from her usual badass self to an almost absurdly submissive character.
Then there is the Laurence Olivier of dogs, who legitimately has more to do in the film than all but four or five human characters. He would have been faster cracking the safe than those two “they don’t make ‘em like they used to” roughnecks Bogey gets stuck with for the job.
After The Petrified Forest comes High Sierra, then The Maltese Falcon and Bogart was a star. What I really like about this film is the relationships. The family with the girl who has a club foot, the Ida Lupino character, Old Mac, etc., and how they relate with Bogart's character.
One gets the impression that while prison didn't break Roy Earle (Bogart), it certainly softened him. He's somewhat tired of it all and plans to settle down after this one last big score. All his old-time buddies are gone and he's too old to mess with these kids.
I just bought this and am glad I did, I'll be watching it again many times over.
"Mister, what does it mean... when a man 'crashes out'?"
as a portrait of a man escaping into himself, it's a sublime distillation of the early gangster movie. Bogart (and motherfucking *Pard*) are aces, as is Lupino with her eyelashes for days, but the accoutrement lets them down. the stuff with the crippled girl is thematically invaluable, but the hokum involved in setting it up and knocking it down is a bit much... stretches the innocence that Earle is looking for, and the redemption he's hoping to siphon from it. a lot of the small stuff doesn't connect, but Earle's slow tumble down the mountain (metaphorically speaking) is fine.
mostly astonished by the speed with which Raoul Walsh gets things going... hurry up and wait, with some of the quickest fades in film history. a breakneck pace to let Earle self-destruct in slow-motion.
Roy Earle (Humphrey Bogart) embodies a remarkable duality, particularly for a cinematic gangster. On one hand, he's a deeply sentimental, naive man who desperately wants to fix the world. On the other, he's a terrifying, cold criminal, one who can kill a man without a thought if it means his freedom.
While American cinema is rife with tragic criminals who deserve better than they get, Earle stands out because of the absence of a tear-jerking backstory. We're never told that he was forced into this life, or that he was drawn in as a kid and never knew another world. As far as we know, he's chosen a life of crime, and he's good enough at it to be moved…
The genre crossroads where the gangster's nostalgia in The Roaring Twenties gazes ahead to the antihero alienation of film noir. (Raoul Walsh further enriches the mix by retelling the story as a Western in Colorado Territory.) The underworld is full of "young twerps, soda-jerkers and jitterbugs," the Old Guard (Donald MacBride) expires in bed with bourbon glass while callow nitwits (Arthur Kennedy, Alan Curtis) hop around with pistols, "not much of the ol' bunch left." Humphrey Bogart's "Mad Dog" Earle steps out of the clink and heads over to the park to feel the verdure beneath his feet. Hardened criminal and closet transcendentalist, he alarms a jumpy accomplice (Cornel Wilde) by tapping his fingers on a violin case while recalling…
Humphrey Bogart plays Roy who is a hotshot thief who is fresh out of jail, you may wonder what his next move will be; is he going to find a dame and settle down? Will he find a honest job and make an honest paycheck? Will he go to a baseball game and snag himself a Chicago Style Hotdog? NOPE! Instead he goes to see the boss and accepts another heist job that will eventually get him trouble because guess what people...movie! That’s why.
Honesty, this wasn’t that bad of a gangster flick. Bogart has this likability to him which is why he received so many roles of this caliber during his time. He definitely carries this film which doesn’t…
The allure is Humphrey Bogart unglamorous portrayal of a hardened gangster. Human enough to go soft, but always the loyal tough guy, knowing where he really stands. It's a shame him and Ida Lupino didn't get along well, for they're great together. Outcasts, but right for each other. While the film tries a little too hard to be good, there is always a sinister look on Bogart's face carrying his destructive path towards a thrilling climax. Bogart is a star now.
This film is a meditation on destiny. Although we watch Bogart trying to avoid a seemingly inevitable end, the film is also a reflection on the end of the gangster genre which had dominated the 30s. By 1941, the gangster genre was dying a slow death after years of being strangled by the Hayes Code, High Sierra remains its swansong. Walsh definitely attempts to rejuvenate the genre he made his own (and does a good job at it too); however, fate sometimes seems to be predetermined, and at the films' end came the final nail in the coffin for the gangster.
But as much of a downer as the ending is for the genre, there is a unique and important…
Roy Earl es uno de mis antihéroes del género favoritos. Ese acojonar a alguien solo dando tres golpecitos sobre una mesa.
Con actuaciones top notch de Lupino como Bogart es una película bastante humana sobre dos personas que buscan libertad. No solo tenemos a un gran director como Walsh sino también tenemos a Huston como guionista, por lo que la calidad está asegurada. Me da la impresión que es una película no tan citada pero que puedo notar como inspiradora de otras, como Bonnie & Clyde o más evidentemente Hell or High Water, especialmente el final.
“I’m a 14 Karat idiot, doing a job with a woman and a dog.”
'One is awestricken by the gruesomeness of this rendezvous with death'
...Could almost have been the elevator pitch for HIGH SIERRA. It's a thematically interesting if clunky noir that touches on freedom, omens, aging, the spectre of death, class & who one's people are.
Featuring Bogart at his meanest in his breakout role & the brilliant Ida Lupino (with top billing) playing a character that comes so, so close to discussing themes of female freedom & emancipation, but is let down by a script that would rather her end up a wailing mess enthralled with a man (the other main female character shares a similar fate).
The film seems to be more influential & groundbreaking in terms of Bogart than brilliant in its own…
The film that made Humphrey Bogart a star.
It’s dated badly in some parts, particularly with regard to its attitudes towards male entitlement and masculinity, but it has flashes of brilliance, particularly in its screenplay. And the performances of its two leads, Bogey and Ida Lupino.
Lupino would go on to be one of the pioneering female directors of the studio system. But here she acts as Bogart’s love interest. And does it very well. Like a lot of “dames” in these tough-guy films, she has a lot of dreck to say and spends a lot of time crying, but she’s authentic and engaging doing it. And gives her character a fair bit of cajones in spite of the “female…
I think Humphrey Bogart one of my favs now. Didn’t like this movie, but I liked him and the dog.
Mediocre "gangster picture" from old Hollywood. Bogart was a charismatic performer, but even he feels like he's just going through the motions for a paycheck. Overly melodramatic film with little to offer to anyone other than hardcore Bogey fans.
Bogart and Ida Lupino are my idea of a power couple.
A great script by John Huston. The bait and switch love story Bogart goes through feels very much in line with Huston's later films. Loved how Bogart was clearly fashioned after Dillinger. Character also reminded me of Richard Stark's Parker character.
A cautionary tale of what happens when a Hoosier goes to California.
Fairly predictable crime thriller. Bogart and Lupino are both convincing but the real star is obviously Zero the dog. If you enjoy dog acting, don't miss this movie!
Pretty solid crime film with a good central performance from Bogart.
A character-based crime movie and proto-noir which helped launch Humphrey Bogart and writer John Huston to superstardom. Pretty darn good movie too. It's interesting that this film was something of a star making turn for Bogart given so much of the film's power rests on how haggard and worn down Roy is. He isn't a bitter ex-con exactly, but there's a world weariness that proves which quietly echoes with tragedy. Huston's script adds a lot of flavour to a semi-cliché narrative while Raoul Walsh's direction is precise in its visual storytelling. The film also excels in its action elements, the third being loaded with high stakes danger while the final stand is very exciting. The subplot involving a disabled girl Roy attempts to romance feels clumsy and eats up a lot of screen time, but even so, this is a lean and very satisfying crime movie well-worth a look.
High Sierra. What a bleak film. Not only the criminals, but even the so-called "good girl" gives in to the temptations that lead us down troubled paths. She's clearly going to be unhappily married, probably an alcoholic, possibly abused. The cinematic brilliance is that it's lying under the surface, never explicitly told, but we can see it so clearly. The tension in the film, on so many levels, is masterful.
M 1,001 films
List made from the book 1001 Movies You Must See Before You Die. This list just from the 2020 edition,…
Sean May 1,000 films
This list comes from the New York Times Book of Movies: The Essential 1,000 Films To See (2019)
AKA 1,630 films
Missing films I can't locate on Letterboxd: Behind the Green Door (Artie Mitchell / Jim Mitchell 1972) Blonde Ambition (John…