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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Down 1% 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:
Mountain Greenery See more (88 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?

"Pard" played by "Zero the Dog" was Humphrey Bogart's dog in real life.See more »
Factual errors: (at around 30 mins) Roy points to the sky and says that a "twinkling" star is Venus, but planets are recognizable because they do not "twinkle."See more »
Roy Earle:Of all the 14 karat saps... starting out on a caper with a woman and a dog.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 »
47 out of 64 people found the following review useful.
Mountain Greenery, 20 July 2001
Author: telegonus from brighton, ma

W.R. Burnett's novel High Sierra is maybe his best book; it's certainly a classic of its type, and very readable and moving even today. The movie version of the book isn't quite as good, but it does something few adaptations do: it captures the spirit of the original.

The story is about a John Dillinger-like criminal, Roy Earle, just released from prison, and his planning of his last 'heist', as he moves from the Midwest to California. It's as much a character study as anything else, and here the book is better, as Burnett seems to get inside the heart and soul of Roy Earle in ways that screenwriter John Huston and director Raoul Walsh can't. This isn't their fault. Burnett gives us Earle's inner life in interior monologues, and movies simply can't do this. Nevertheless, we get a feeling for Earle, a lonely, extremely sentimental and romantic man, essentially a frontier type, or with more brains an artist, who cannot fit into modern life. The reason is simple: he doesn't understand it. He is driven by two things, strong emotions and extreme professionalism. The problem is that his profession is crime. Between these two extremes he is unsocialized, or rather doesn't understand the subtlety of contemporary life. To put it in current parlance, he's not hip, which is to say he has no detachment, no capacity for pulling back and reflecting, unless, that is, he is in love, and even then he gets it wrong by misunderstanding an attractive, crippled girl's reliance on him for love, and taking her country girl disposition for naivite (i.e. like him), which isn't true. This tragic aspect of Roy Earle is beautifully and perceptively described by Burnett, and while it's present in the film, it makes Roy seem obtuse, while the truth is his emotions run deep, and are sincere. He wants to give up crime and marry a small-town girl so that he can go back and get it right again. In the lead role Humphrey Bogart gives a major performance. Superficially he's wrong for Roy Earle: too urban, flip, smart and clever. But he trades in his natural big city persona for a moony, brooding romanticism, and it works. He doesn't seem the least bit sophisticated, and in his quieter moments he comes off like a man who can kill the way other men write checks

He has a true girl-friend in Ida Lupino, but he doesn't realize that she's more his type: life-weary, straightforward, deep and caring. He prefers the one he can't get, and this gets him in trouble, as his commitment to her puts him in a dreamy, dissociative state that is dangerous for a man in his line of work. The story builds on little things, and the bucolic mountain and small-town setting of the film is terra incognita for Roy, and we sense this even if he doesn't. He is, for all his professionalism, way out of his league, and is looking back to his idealized, romanticized early life, and longing for an ideal girl that he can 'fix', rather than doing the right thing and going off with Lupino and stating anew, which is his only chance for happiness.

Roy is a man who lives in two parallel worlds, the real, vicious one he must cope with, and the fantasy one he longs for and sees in the crippled girl he so tenderly loves. There is no in-between for him, as his head is in the clouds much of the time. It is therefore fitting that the movie ends up literally in the clouds, or so it seems, atop a mountain, as Roy shoots it out with reality one last time.

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