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Key Largo

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MontgomeryClift
01/06/2026

A lovely and subdued Bogart set against the backdrop of a singular hotel location. This is quite a little gem. A noir bottle episode if you will. Gangsters have overrun a Florida hotel and await their dirty dealings while a storm rages outside keeping everyone in a tense state. A nice return to 30’s gangster form for Robinson. And a heart breaking turn for Claire Trevor as an aging moll whose alcohol drenched life has taken away many of her previous gifts. Bogart has a wonderful quietness to him in this piece. He is a calculated hero who rises above when needed. He is a more cerebral and intelligent Bogart character. Sensitive and kind. An awesome cast of 40’s Warner Bros characters and some nice camera work really help this John Huston piece shine.

Feb 22nd 2021.

7/10

John Huston
Jerry Wald
Richard Brooks, John Huston
Maxwell Anderson (play)
Karl Freund
Max Steiner
Leo K. Kuter
Rudi Fehr
Humphrey Bogart, Lauren Bacall, Edward G. Robinson, Lionel Barrymore, Claire Trevor, Thomas Gomez, Marc Lawrence, John Litel, William Haade, Monte Blue, Dan Seymour
Frank McCloud (Humphrey Bogart) and James Temple (Lionel Barrymore) enjoy the calm before the storm.
McCloud and Nora Temple (Lauren Bacall) help her father downstairs.

The twin forces of hurricane-strength winds and Johnny Rocco’s gang of thugs descend on a quaint, seaside hotel in John Huston’s Key Largo, testing the courage and fortitude of visiting veteran Frank McCloud (Humphrey Bogart) who rises to the challenge of protecting innkeeper James Temple (Lionel Barrymore) and his beautiful daughter Nora (Lauren Bacall). Of all the nasty gangsters Edward G. Robinson played, Johnny Rocco just might be the most rotten: the scene in which he forces his alcoholic ex-moll Gay (Claire Trevor) to sing — poorly — for a drink, and then further humiliates her by withholding it, seems almost crueler than if he had knocked her out. (Trevor, who upstages Bacall throughout the film, won a well-deserved Oscar for her performance). Despite his nastiness, Rocco is frightened by the storm (McCloud suggests he try to shoot it) which Huston renders effectively through blackouts, roaring winds, glasses shattering, lamps rattling, all adding a new layer of vulnerability for the trapped occupants. Freund’s cinematography makes the most of the thunderous malaise, chiaroscuro compositions mounting in the second half to enhance the glow of doom that follows McCloud out to sea.

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