High Sierra (1941)

"He just touched the trigger and the gun went rat-tat-tat" (taps fingers). Roy Earle

Back in the pre-WWII era, Warner Bros had the reputation as "the" gangster movie studio with all the major stars – James Cagney, Edward G. Robinson, and Paul Muni under contract, and a sterling stable of talent including Humphrey Bogart who played competently in the shallow roles afforded him but could never be seen by Jack Warner as star material. That was about to change, with Bogart's performance here and in the film immediately following, The Maltese Falcon. Warner still managed to snub Bogey, by giving Ida Lupino top billing, but this was never again to be the case.

Apart from Bogart's alternatively sensitive and sneering Roy Earle, probably the thing that distinguishes this film and makes it a must for the serious cineaste's collection is the screenplay by screenwriter John Huston, adapted from the book by WR Burnett.

Huston, one of the best writers in Hollywood, would go on to show his mettle as a brilliant director, with Humphrey Bogart one of his chief collaborators. This screenplay has a few flaws but it showcases Bogart just as he was stepping onto the pinnacle of bona fide stardom.

As WC Fields once opined, never share the screen with "children or dogs." Fields knew how easily these characters could steal scenes and that is one flaw in High Sierra. A small mongrel dog, "Pard," is featured in about a third of the scenes and he completely takes over the action. He does serve the function as harbinger of doom, as expounded by the black handyman (Willie Best) so Huston was using symbolism well even if it took a scene stealing dog to do it. The screenplay is unevenly divided between the tough and the sappy Roy Earle, showing his dual nature, wishing for a lifestyle outside of what he had.

Bogart's Roy Earle is a man outside his time, obsolete, too far along in life to change and facing the rapidly advancing future with trepidation. This is the same psychological vein mined so fruitfully by Sam Peckinpah in his two profound takes on obsolescent men in changing times: "Ride the High Country," and the more widely known "Wild Bunch."

Earle is sprung from a long prison sentence by a bribe to the governor, then he is given orders to report to his benefactor for a big robbery out west. He learns through an intermediary (Barton MacLane) that the score is a resort near the Sierra Nevada mountains. His help for the caper is two weaselly guys (Arthur Kennedy and Alan Curtis) that further show Roy's obsolescence. He is a dependable stand up guy while they are inexperienced cowboys in awe of Roy’s reputation.

One of the guys has brought along a moll, Ida Lupino (Road House). Earle tries to send her back to Lost Angeles to stop the two guys from fighting over her. Once he speaks to her he realizes she has been around the block and can take care of herself so he lets her stay. He also meets the local dog who plays a key role at Bogey’s expense, the dog exemplifying fate stalking. A subplot concerned a crippled girl that becomes an unattainable object for Earle as opposed to the available, earthy Lupino, is only marginally successful due to the depiction of the wretched hillbilly family headed by Henry Travers. This again is symbolic of Earle's quest for a way out of the fatal lifestyle he is pursuing. Of course it can never be.

Apart from Bogart and Ida Lupino, there is a rich supporting cast from Warner's stable including Henry Hull, Henry Travers, Joan Leslie and several other familiar faces. Bogart drives a '37 Plymouth Business Coupe in a harrowing car chase before he is brought to bay on the slopes of craggy Mt. Whitney.

Directed by Raoul Walsh (White Heat) the movie makes good use of the scenic beauty of the Sierra Mountains with dark cinematography that makes it foreboding in the manner that would develop into film noir.

The Warner Bros DVD is presented in pristine black and white, in 1.33:1 theatrical format, and the running time is 100 minutes, even. There is a 15 minute featurette "Curtains for Roy Earle," giving the back story on the making of High Sierra and Humphrey Bogart's ascent from bit player to stardom.

If you're a modern viewer with little knowledge of classic film, High Sierra may not give you as much of a kick as it will a seasoned cinephile, as so many films have pirated from its good parts. But those of you with a good knowledge of film history will cherish the indelible celluloid of High Sierra, Humphrey Bogart's breakthrough performance.

Recommended:
Yes

Viewing Format: DVD
Video Occasion: Fit for Friday Evening