IMDb > High Sierra (1941)
High Sierra
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High Sierra (1941) More at IMDbPro »

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High Sierra -- Trailer for this black and white classic


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Up 11% in popularity this week. See why on IMDbPro.
John Huston (screen play) and
W.R. Burnett (screen play) ...
View company contact information for High Sierra on IMDbPro.
Release Date:
25 January 1941 (USA) See more »
Towering Thrills with this Year's Academy Award Star! See more »
After being released from prison, notorious thief Roy Earle is hired by his old boss to help a group of inexperienced criminals plan and carry out the robbery of a California resort. Full summary » | Full synopsis »
Plot Keywords:
3 wins See more »
User Reviews:
A highly important movie. See more (87 total) »


  (in credits order) (verified as complete)

Ida Lupino ... Marie

Humphrey Bogart ... Roy Earle

Alan Curtis ... 'Babe'

Arthur Kennedy ... 'Red'

Joan Leslie ... Velma

Henry Hull ... 'Doc' Banton

Henry Travers ... Pa

Jerome Cowan ... Healy

Minna Gombell ... Mrs. Baughmam

Barton MacLane ... Jake Kranmer

Elisabeth Risdon ... Ma (as Elizabeth Risdon)

Cornel Wilde ... Louis Mendoza

Donald MacBride ... Big Mac

Paul Harvey ... Mr. Baughmam

Isabel Jewell ... Blonde

Willie Best ... Algernon
Spencer Charters ... Ed

George Meeker ... Pfiffer

Robert Strange ... Art
John Eldredge ... Lon Preiser (as John Elredge)
Sam Hayes ... Announcer
Zero the Dog ... 'Pard' (as Zero)
rest of cast listed alphabetically:

Eddie Acuff ... Bus Driver (uncredited)

Erville Alderson ... Farmer at the Earle Homestead (uncredited)

Dorothy Appleby ... Margie - Joe's Girlfriend (uncredited)
Peter Ashley ... Young Man at Auto Accident (uncredited)

Arthur Aylesworth ... Circle Auto Court Owner (uncredited)

James Blaine ... Deputy (uncredited)

Wade Boteler ... Sheriff (uncredited)
Lucia Carroll ... Brunette with Bob (uncredited)
Eddy Chandler ... Policeman at Auto Accident (uncredited)
Davison Clark ... Deputy (uncredited)
Richard Clayton ... Bellboy at the Robbery (uncredited)

Clancy Cooper ... Policeman George Asking for ID (uncredited)
Frank Cordell ... Slim - Marksman (uncredited)

James Flavin ... Policeman (uncredited)

William Gould ... Hotel Watchman (uncredited)
Carl Harbaugh ... Fisherman (uncredited)

Harry Hayden ... John - Druggist (uncredited)

Louis Jean Heydt ... Bob - Tourist at Robbery (uncredited)

Robert Emmett Keane ... Man with Glasses at Auto Accident (uncredited)
Al Lloyd ... Man in Auto Court Office (uncredited)

George Lloyd ... Gangster Greeting Earle at Prison (uncredited)
Gerald Mackey ... Boy Going Fishing (uncredited)

Frank Moran ... Policeman (uncredited)

Jack Mower ... Policeman (uncredited)
Garry Owen ... Joe - Velma's Guest (uncredited)
Lee Phelps ... Policeman Henry Holden at Drugstore (uncredited)
Jack Rutherford ... Policeman (uncredited)

Ralph Sanford ... Tom the Fat Man at Drugstore (uncredited)
Buster Wiles ... Marksman Who Shoots Roy Earle (uncredited)

Maris Wrixon ... Blonde at Auto Accident (uncredited)
Charlotte Wynters ... Woman Behind Counter (uncredited)

Directed by
Raoul Walsh 
Writing credits
John Huston (screen play) and
W.R. Burnett (screen play)

W.R. Burnett (from a novel by)

Produced by
Mark Hellinger .... associate producer
Hal B. Wallis .... executive producer
Original Music by
Adolph Deutsch 
Cinematography by
Tony Gaudio (director of photography)
Film Editing by
Jack Killifer (film editor)
Art Direction by
Ted Smith 
Costume Design by
Milo Anderson (gowns)
Makeup Department
Perc Westmore .... makeup artist
Production Management
Jack L. Warner .... in charge of production
Second Unit Director or Assistant Director
Russell Saunders .... assistant director (uncredited)
Sound Department
Dolph Thomas .... sound
Special Effects by
Byron Haskin .... special effects
Hans F. Koenekamp .... special effects (as H.F. Koenekamp)
Roydon Clark .... stunts (uncredited)
Harvey Parry .... stunts (uncredited)
Waldo .... stunts: base jump (uncredited)
Buster Wiles .... stunt double: Humphrey Bogart (uncredited)
Costume and Wardrobe Department
Eugene Joseff .... costume jeweller (uncredited)
Music Department
Leo F. Forbstein .... musical director
Louis Kaufman .... musician: violin (uncredited)
Arthur Lange .... orchestrator (uncredited)
Other crew
Irving Rapper .... dialogue director
Eddie Hall .... stand-in: Alan Curtis (uncredited)
Crew verified as complete

Production Companies
  • Warner Bros. (presents) (A Warner Bros.-First National Picture)
DistributorsOther Companies

Additional Details

Also Known As:
100 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Mono (RCA Sound System)
Argentina:Atp | Australia:PG | Australia:G (TV rating) | Canada:PG | Finland:K-8 (1990) | Finland:(Banned) (1942) (1947) | Germany:12 | Sweden:15 | UK:PG | UK:A | USA:Passed (National Board of Review) | USA:Approved (certificate #6563)

Did You Know?

Body Count: 5.See more »
Continuity: When Roy Earle, traveling under an alias, first meets Pa Goodhue at the gas station in the desert, he only introduces himself as "Collins". However, when they meet for the second time after the car accident in Tropic Springs, Pa immediately greets him as "Roy," even though Earle had never offered a first name.See more »
Deputy:[Marie crosses the crime scene line] What's the idea you? get back where you belong! Anybody else tries they'll get run in... see?
Healy:[sees Marie crying approaches her] What are you up to sister? Why did you try to get through this line? What did you mean to do? have you a little dog in that basket? A grey and white dog?
[Picks up basket and checks himself]
[signals the officer to come over]
Deputy:What's the matter with her?
Healy:Roy Earle has been traveling with a girl called Marie.
Deputy:Sure I know that. what about it?
See more »
Movie Connections:
Featured in Bogart (1967) (TV)See more »
I Get a Kick out of You (1934)See more »


Gun Used by Bogart---Did Cagney & Cliff Robertson Use Same Gun?
See more »
91 out of 113 people found the following review useful.
A highly important movie., 6 December 2003
Author: FilmSnobby from San Diego

*High Sierra* is almost excruciatingly important in the development of cinema, laying to bed the "gangster picture" of the 1930's while simultaneously giving birth to American film noir. Oh, and it made Humphrey Bogart a major star while it was at it. Therefore, I'm not entirely sure that your film collection, if you have one, can survive without it.

Based on a pulpy novel, it chronicles the story of Roy Earle, sprung from a life sentence in prison so that he can knock over a casino along the California-Nevada border. It's easy to miss, but notice the first minute of this picture closely: it's of course the Governor -- bought off by a mobster -- who gets Roy released from his life sentence, indicating that the corruption has finely infested the top of the social order. This is the usual tough-minded, whistle-blowing gangster-picture stuff that Warner Bros. specialized in. But there's also something else at work here, perhaps something new: one gets the sense that what happens to Roy in this movie has been engineered from On High, in advance . . . in other words, he's in the Jaws of Fate. And thus we're in the unforgiving world of Film Noir.

More than the opening scene, it's Bogart who almost single-handedly invents film noir with his groundbreaking work in *High Sierra*. Not cocky like Cagney and Muni, not psychopathic like the early Edward G. Robinson, not as smooth as Raft, Bogart is a ruthless professional with a wide stripe of sentimentality. His Roy never shirks from killing, but he doesn't get off on it. He's more a rebel than a gangster, a poetic soul denied respectability, a man longing for the innocence of his youth. Unfortunately, he thinks he finds in the personage of a transplanted Okie farm-girl (Joan Leslie) a reasonable facsimile of that innocence. Competing for his affections is Ida Lupino, a sour "dime-a-dance girl" who's been up, down, and around the block a time or three. She's the baggage that comes with the two new-generation hoods whom Bogart is assigned to babysit for the casino heist. Not until later in the picture does Bogart recognize Lupino's better suitability to his own temperament and experience. (They share in common, among other things, suicidal impulses, a desire to escape a corrupted world.)

Roy Earle was a new type of character -- the truly romantic criminal. Bogart would play variations on Earle throughout his career, though he rarely exceeded his triumph here. And while I've given the actor much of the credit, some more credit must be extended to the screenwriter, John Huston. *High Sierra* was the beginning of a beautiful friendship.

Oh, and did I mention that the movie -- aside from its importance in American film history, yadda yadda -- is quite simply a good time? Witty dialogue, great on-location direction by Raoul Walsh, a cute dog, and a climactic car chase that wouldn't be equaled until 1968's *Bullitt*, are just some of this movie's other virtues.

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