Last night, I went to see a double feature of 1940's film noir at The Brattle Theatre. The two films in question are Gilda starring Glenn Ford and Rita Hayworth and To Have and Have Not starring Humphrey Bogart and Lauren Bacall.
Both films were given lengthy, loquacious introductions by film historian Foster Hirsch.
Gilda
As I mentioned a moment ago, Hirsch opened the proceedings and emphasized the homoerotic tensions between Glenn Ford and George McCready.
After seeing the film, I sent a text to my parents and brother about my activities and made a point of mentioning of Hirsch's observations. My mother texted back and reminded me how much my grandfather adored Rita Hayworth. And who could blame him?
Mom could not fathom Hirsch's observations about homoeroticism nor frankly could I either. However, Mom did think the plot was weak. I replied that it was a point on which she and Hirsch agreed.
Mom added she thought that Gilda was treated cruelly by Johnny Farrell (Glenn Ford). On this, I parted company with Mom. I thought both characters were cruel to one another in equal measure. Gilda derived pleasure in humiliating Farrell while Farrell was full of spite. They were two little shits who deserved each other. Of course, in real life Ford and Hayworth had an affair for decades which evolved into a lifelong friendship.
While Gilda is visually stunning 80 years after its release, I could not get into the film as I found none of the characters in it remotely appealing.
To Have and Have Not
Hirsch spent much of his introduction telling us that Lauren Bacall was a horrible person. She might very well have been, but he dwelled on this point for far too long.
As to the merits of To Have and Have Not, Hirsch opined that this not-so-faithful adaptation of Ernest Hemingway's book was essentially the same plot as Casablanca complete with Vichy rule only this time in Martinique. Humphrey Bogart's Captain Morgan is essentially the same as Rick Blaine. A man who says he sticks his neck out for nobody only to end up sticking out his neck for anyone allied against the Nazis. Hirsch described director Howard Hawks as having "a good ear and a bad eye."
This would be Bogart and Bacall's first of four film collaborations together and they are the story with some comic relief from Walter Brennan and music from Hoagy Carmichael. Bacall was only 19 when this film was made but she displayed a maturity that was decades beyond her years. This was a woman and one could see why Bogart was fascinated by her especially when she told him how to whistle. One could also see that Bacall was not one for boys.
Of course, I made a similar observation two years ago when I saw Key Largo at the Brattle which commemorated what would have been Bacall's 100th birthday. I also noted that Key Largo was their final film collaboration while To Have and Have Not would be their first. There are subtle differences. To Have and Have Not represents the birth of Bogey & Bacall. It's the spark of new love. In Key Largo, the chemistry is still there but it is clear they have weathered some storms for better or for worse.
Later today, I plan to write dispatches of film noir from both the 1950's and 1960's.