Tag Archives: Jules Furtham

To Have and Have Not (Howard Hawks, USA, 1944)

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A Casablanca (Michael Curtiz, USA, 1942) knock-off, with a poor imitation of an Ilsa and Victor Lazlo sub-plot that threatens to drag the film down in the last half, and still one of the most entertaining films of all time. Once, To Have and Have Not being very loosely based on an Ernest Hemingway novel with a script worked on by William Faulkner brought it a certain cachet: two Nobel-prize winners for literature on the credits of one film. It  also created a certain notoriety; that Hollywood could treat such literary giants so cavalierly was  proof of its philistinism. But for cinephiles, it’s Jules Furthman’s name on the screenplay that generates excitement. He wrote Shanghai Express (Josef Von Sternberg, USA, 1932), Bombshell (Victor Fleming, 1933), China Seas (Tay Garnett, USA, 1935), and for Hawks alone, The Big Sleep (1946) and Rio Bravo (1959); which is to say, he wrote some of the most memorable female characters in the history of cinema and dialogue that is still indelible today.

bacall

In To Have and Have Not we get to hear Bacall say, ‘It’s better when you help’, ‘You know how to whisle don’t you Steve: just put your lips together… and blow’, ‘this money is mine and so are my lips. What’s the difference?’, and so many other great lines. Of course, the way Bogart and Bacall says them helps. To Have and Have Not is Bacall’s first film (she was 19) and it made her one of the greatest stars of the post-war period and a cinematic immortal. In her autobiography, By Myself, she recounts how the famous ‘look,’ which she created and was to be publicised as, was simply due to nerves: She was shaking so much that she tried to hold her chin in to prevent it from showing. You can see the stiffness in the performance. But one can’t deny the power of her presence. She’s beautiful, insolent, free: like Dietrich in Shanghai Express but slangier, rangier, home-grown American. With the possible exception of The Big Sleep, also for Hawks, Bacall was never to be better on-screen.

To Have Have Not offer many pleasures.  Bogart and Bacall of course; action in exotic locations; the witty way it’s imagined and executed. Some think Walter Brennan’s performance as Eddie, Harry Morgan’s (Humphrey Bogart) alcoholic sidekick, cutesy and overblown. I love it. His double-takes are still a source of wonder and enjoyment to me. I also admire how  the depiction of the relationship between Eddie and Harry, which could just have remained at the level of cartoon, is lovingly built up  as a loving relationship between men. The legendary Marcel Dalio also sparks up every scene he’s in as Frenchy, the nightclub owner. As if all this weren’t enough, there’s Hoagy Carmichael, one of the greatest American songwriters, playing piano for Bacall (ostensibly voiced voiced by Andy Williams though there’s some controversy about this) on some classic songs: his own (‘How Little We Know’) and those of others (‘Am I Blue?’ Music by Harry Akst and lyrics by Greg Clarke). I have a particular love for this one, which it seems to me would be better known but for its choice of language: ‘this is a story about a very unfortunate coloured man…’

José Arroyo

Robert Benchley Steals a Movie in Five Minutes

           China Seas is big-budget, all-star orientalist tosh with exciting action sequences, well-directed by Tay Garnett. I don’t know that it’s much worth seeing today unless you love Jean Harlow (which I do) or want to see how movie star like Gable can sleepwalk through a performance and still be appealing or are curious as to just how bad Rosalind Russell was at playing English aristocrats early in her career. What I most loved about the movie was the way Robert Benchley was deployed as a kind of punctuation mark in the narrative. He’s got no role really. He’s just brought in to punch up the tired narrative, lift the tenor and add a laugh, all of which he succeeds magnificently in doing. It’s a lesson to performers in how to steal a movie in five minutes and to screenwriters in how a movie is not all story and meaning and how in the words of the immortal Lubitsch, one shouldn’t ‘sneeze at a laugh’; though one is at all times willing to drink to it.

The clip below is the entirety of his role, a collection of all his scenes in the film in chronological order; bits, lines and gags; all totalling just over five minutes; and, aside from a few cracks between Jean Harlow and Hattie McDaniel, the only scenes from the movie one is tempted to see again.

José Arroyo