Hollywood’s Original Dynamic Duo
Humphrey Bogart and John Huston will forever be associated primarily for three classic films they made together; "The Maltese Falcon," (1941), “Treasure Of The Sierra Madre" (1948), and "The African Queen" (1951). In all Bogart appeared in six films that were written and directed by Huston, a seventh, "High Sierra" (1941), was written by Huston,however, because he left Hollywood to serve with director Frank Capra's World War Two film unit, Raoul Walsh directed Bogart in the film that launched his film career. Despite not directing, Huston's brilliance can be felt throughout, especially his treatment of the complex character, Roy Earle - a well known criminal and killer with a surprisingly soft heart. Bogart's second billing, behind Ida Lupino, showed his status as filming began on the movie that would elevate him from B movies and minor roles to bona-fide Hollywood stardom.
Bogart and Huston were close friends who came from similar privileged backgrounds, Bogart's father was a prominent Manhattan physician, Huston was the son of well known character actor Walter Huston. Both were often considered Hollywood "bad boys" fond of hard living, drinking and telling stories, sometimes all through the night at their favorite Hollywood clubs. While they had much in common, they also had many differences between them, especially in their lifestyles. Bogey was a true urbanite preferring to spend most of his time in the city, with the exception of sailing which was his only sporting interest, which he enjoyed immensely, Huston loved adventure, travel and hunting, especially in remote areas.
Twice he persuaded Bogey to venture out of his comfort zone to film on location, first for "Treasure Of The Sierra Madre," later to Africa for "The African Queen." The iconic Katherine Hepburn claimed Huston insisted on filming in Africa, not for the sake of the film, rather "just so he could hunt elephants," a story that inspired Clint Eastwood's film, "White Hunter, Black Heart."
Huston and Bogart both arrived in Hollywood just as the sound era began and reportedly quickly became friends. It's not known if they knew each other prior in NY, though it's quite possible as they travelled in the same circles and as noted, shared many interests. Bogart unquestionably is best remembered for his tough guy persona, ironically, early in his career on the stage he portrayed many male ingenues - complete opposites of his most iconic film roles. However an exception was his critically acclaimed performance as the sociopathic killer, Duke Mantee in the Broadway production of "The Petrified Forest," a role that ultimately changed his life and career. From 1930 to 1936 Bogey was either playing upper class morons on the NY stage or bad guys on film, mostly in forgettable B movies. He appeared in eleven films in those six years, most notably as a very slimy kidnapper in the pre-code cult classic "Three On A Match" with the legendary Bette Davis, however his film career seemed to be going nowhere fast.
Behind most - if not every - Hollywood success story, there are connections, "breaks,” or uncommon bits of luck, Humphrey Bogart and John Huston are no exceptions. Huston was quite literally born to write and direct films with the powerful influence of his father and brilliant talent to back him. For Bogey, it was two fellow actors, one wittingly and one unwittingly that opened doors and cleared the path for one of the most beloved stars in Hollywood history. His first big film break came as production on the 1936 film version of "The Petrified Forest'' began, the producers wanted Edward G. Robinson to play the killer, Duke Mantee - then fate, Bogey’s first benefactor and a fellow actor stepped in. First, Robinson walked out on Warner Brothers, then Leslie Howard who had starred in the stage production and was a huge film star at the time stood up for Bogey, having his agent send Warner's now-famous telegram that read "No Bogart - No Howard." Bogart was made up to look like John Dillinger and he turned in a performance that brought even greater critical acclaim than his stage performance.
While critics and the film's box office success made Bogey a star, it also caused him to be typecast and producers thought he was only capable of playing thugs and villains. That remained true until a second well-known actor unwittingly became another Bogart benefactor, repeatedly. A young John Huston had been assisting writers and working in the art department at Warner Brothers for several years before they "threw him a bone" allowing him to direct. "The Maltese Falcon" was the film Huston wanted to make, the studio was understandably hesitant, as the story had been filmed and flopped twice already. In 1931, Ricardo Cortez starred in a sort of “Thin Man” version of the tale, heavier on the romance which didn’t work at all. In 1936, the story was changed drastically and Bette Davis starred in another version called "Satan Met a Lady."
However, Huston eventually convinced the studio executives it was worth doing - his way - remaining true to Dashiell Hammett’s classic novel. The studio insisted on one thing - George Raft would star as private eye Sam Spade. Reportedly to Huston’s delight, Raft refused to take the part, opening the door for the first collaboration of Huston and Bogart. It wasn't the first time Raft did Bogey a favor and wouldn't be the last. Repeatedly over the next six years Raft turned down roles that became cinematic and Bogart classics, including - believe it or not - "Casablanca,” and previously the role that really launched Bogey - Roy Earle in "High Sierra." How good any of these films might have been with George Raft is questionable at best, looking back now it's difficult to put the two actors in the same class and it's hard to imagine anyone other than Bogey saying "Here's looking at you kid."
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