A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
Frank McCloud travels to a run-down hotel on Key Largo to honor the memory of a friend who died bravely in his unit during WW II. His friend's widow, Nora Temple, and wheelchair bound father, James Temple manage the hotel and receive him warmly, but the three of them soon find themselves virtual prisoners when the hotel is taken over by a mob of gangsters led by Johnny Rocco who hole up there to await the passing of a hurricane. Mr. Temple strongly reviles Rocco but due to his infirmities can only confront him verbally. Having become disillusioned by the violence of war, Frank is reluctant to act, but Rocco's demeaning treatment of his alcoholic moll, Gaye Dawn, and his complicity in the deaths of the Osceola Brothers and a deputy sheriff start to motivate McCloud to overcome his Hamlet-like inaction.Written by
The ramshackle hotel where most of the drama unfolds was constructed on the Warner Bros. lot along with the beach area. Exterior shots of the hurricane were actually taken from stock footage used in Night Unto Night (1949), a Ronald Reagan melodrama made the same year at Warner Bros. See more »
When Frank McCloud is on the top of the boat's cabin waiting for Johnny Rocco to emerge, the initial scene looking up at Frank from the deck shows the pistol in Frank's right hand. However, in the single scene when the viewer is looking over Franks shoulders through the cabin roof, the pistol is in his left hand. The remaining scenes shot from the deck show it again back in his right. See more »
Hey Curly, what all happens in a hurricane?
The wind blows so hard the ocean gets up on its hind legs and walks right across the land.
And singin' this song: Rain rain, go away, little Ralphie wants to play.
See more »
Florida Storm Takes Place of Neon Lights in Huston's Noir Classic
Humphrey Bogart and John Huston must be considered the artistic equivalent of De Niro-Scorsese. Huston and Bogie made several films together, this being one of their best. But there is another combo that comes to an end in cinema's history: Bogie and Bacall appear on screen for the final time together. It is their finest collaboration. Edward G. Robinson, "Little Caesar" himself, returns to gangster form after years of playing the good guy (Wilder's DOUBLE INDEMNITY, Welles' THE STRANGER) and has one of the more memorable entrances in film villain history. We see him in a tub, smoking, a fan in front of him. He seems to be decaying in a way, but "Johnny Rocco" is still to be reckoned with. This is the Robinson we all love, demented and wise, sinister yet humorous. The Largo Hotel is the setting and a hurricane of drama, heroism, and rain is coming.
Huston stages the film much like the play it is based on, yet we never feel confined. There is enough colorful dialogue to go around. Surprisingly, much of it is not by Bogart, who plays probably his most quiet role, promoting his character through facial gestures more than words. He plays off Robinson and his posse of mobsters perfectly in this way, allowing Edward G. to dominate the majority of the film, which is the point. Lionel Barrymore plays the chair-ridden owner of the Largo and his daughter Bacall is falling in love with Bogart, naturally. They are at the mercy of Rocco and his boys, all of whom have some itchy trigger fingers. Bogart is just buying his time to make his move. The finale is extremely well done and foresees suspense endings to come.
Lauren Bacall is one of the most beautiful actresses to grace the screen, especially in black and white. Her perfect features look sculpted in this light and her sensual stare is enough to make you melt. Her smoky voice and attitude is an excellent match for Bogie's simple, heroic character. Film Noir becomes Florida Noir here, as the lightening outside the windows of the hotel play games with the shadows and atmosphere of events inside. Robinson murders an innocent man with the look of a terrifying ghost, lightening flashing on him and all. The thunder substitutes for the sound of cars and street-life normally heard in classic noir pictures. KEY LARGO is a very good film, dark and suspenseful, in the most pleasant of locales.
RATING: 8 of 10
26 of 37 people found this review helpful.
Was this review helpful to you?
| Report this