By 1941, Humphrey Bogart had nearly a dozen gangster roles to his credit, but in "High Sierra" we get to see a criminal with a heart. That aspect of Roy Earle's (Bogey) nature is played out with the chance meeting of Pa Goodhue (Henry Travers) and his pretty niece Velma (Joan Leslie). Though their age difference is plainly visible, Earle experiences a pang of feeling for Velma, even though she is handicapped with a clubfoot. The story within a story of Roy's white knight effort to cure Velma's malady and find a way out of his life of crime is eventually derailed, but not before the viewer gets a chance to observe a tough guy's soft side.
But then there's his hard side. Fresh out of Mossmoor prison, Roy Earle wastes no time in hooking up with former gangster friend Big Mack (Donald MacBride) who had arranged his early release, and has already lined up Roy's next big payday. Roy will have to get heavy handed with two rookie sidekicks (Arthur Kennedy, Alan Curtis), who between them are juggling a pretty "dime a dance" girl along for the ride. The would be moll is Marie Garson (Ida Lupino), who with one look at Earle instinctively knows her two companions are in over their head. Roy tries to keep his distance from Marie, but when Velma makes it clear that she's marrying another man, Earle's romantic interest in Marie is driven up a notch.
The film makes good use of Warner Brothers stock players. Barton MacLane is on hand as a rogue cop who's taken up with Earle's boss Big Mack. Henry Travers is put to good use in a role that serves as a warm up for that of Clarence the Angel in "It's A Wonderful Life". Cornel Wilde and Jerome Cowan find themselves in limited roles, Wilde as the smarmy Mendoza who sets up the hotel heist, and then rats out Roy to the authorities. And let's not forget Old Pard, the friendly mutt with an attraction to people who wind up dead. Pard had a good acting coach, he was Bogey's real life pet dog Zero.
The newspapers hang a 'Mad Dog' tag on Roy following the botched hotel heist and Earle's shooting death of Jack Kranmer (MacLane). Presumably seeing Marie off to safety, he finds himself on the run and seeking refuge in the shadow of Mt. Whitney. Reacting to a radio broadcast, Marie retraces her steps back to witness Roy's stand against the police, knowing that he'll never allow himself to be taken alive. However Earle's final defeat doesn't have the defiance of Cagney's in "White Heat", no 'top of the world Ma' challenge to incite the authorities. In the end, a big time hood falls in disgrace. By then, you get the feeling that Marie already knows the answer to her own question when she asks a reporter - "Mister, what does it mean when a man crashes out?"
You may be surprised as I was to learn that Ida Lupino was actually top billed over Humphrey Bogart in "High Sierra"; I'd be curious as to the politics involved in that decision. Though her performance is very good, her actual screen time is considerably less than Bogey's. Lupino also excelled in another team up with Bogart, that of the vile and conniving wife who murdered her husband in "They Drive by Night". Catch that one for her intense courtroom scene, it's a blast.
But then there's his hard side. Fresh out of Mossmoor prison, Roy Earle wastes no time in hooking up with former gangster friend Big Mack (Donald MacBride) who had arranged his early release, and has already lined up Roy's next big payday. Roy will have to get heavy handed with two rookie sidekicks (Arthur Kennedy, Alan Curtis), who between them are juggling a pretty "dime a dance" girl along for the ride. The would be moll is Marie Garson (Ida Lupino), who with one look at Earle instinctively knows her two companions are in over their head. Roy tries to keep his distance from Marie, but when Velma makes it clear that she's marrying another man, Earle's romantic interest in Marie is driven up a notch.
The film makes good use of Warner Brothers stock players. Barton MacLane is on hand as a rogue cop who's taken up with Earle's boss Big Mack. Henry Travers is put to good use in a role that serves as a warm up for that of Clarence the Angel in "It's A Wonderful Life". Cornel Wilde and Jerome Cowan find themselves in limited roles, Wilde as the smarmy Mendoza who sets up the hotel heist, and then rats out Roy to the authorities. And let's not forget Old Pard, the friendly mutt with an attraction to people who wind up dead. Pard had a good acting coach, he was Bogey's real life pet dog Zero.
The newspapers hang a 'Mad Dog' tag on Roy following the botched hotel heist and Earle's shooting death of Jack Kranmer (MacLane). Presumably seeing Marie off to safety, he finds himself on the run and seeking refuge in the shadow of Mt. Whitney. Reacting to a radio broadcast, Marie retraces her steps back to witness Roy's stand against the police, knowing that he'll never allow himself to be taken alive. However Earle's final defeat doesn't have the defiance of Cagney's in "White Heat", no 'top of the world Ma' challenge to incite the authorities. In the end, a big time hood falls in disgrace. By then, you get the feeling that Marie already knows the answer to her own question when she asks a reporter - "Mister, what does it mean when a man crashes out?"
You may be surprised as I was to learn that Ida Lupino was actually top billed over Humphrey Bogart in "High Sierra"; I'd be curious as to the politics involved in that decision. Though her performance is very good, her actual screen time is considerably less than Bogey's. Lupino also excelled in another team up with Bogart, that of the vile and conniving wife who murdered her husband in "They Drive by Night". Catch that one for her intense courtroom scene, it's a blast.