To Have and Have Not (1944)

Director:

Howard Hawks

Writers:

Jules Furthman (screenplay) and
William Faulkner (screenplay)
(más)

Release Date:

20 enero 1945 (USA)

Genre:

Adventure | Romance | Thriller | War

Frase comercial:

At Last! Bogart makes love his kind of woman !

Plot:

Harry Morgan and his alcoholic sidekick, Eddie, are based on the island of Martinique and crew a boat available for hire...

Plot Keywords:

Expatriate | Martinique | WWII | French Resistance | Fugitive

Comentarios de los usuarios:

Only the Names are Retained.

Cast

Humphrey Bogart	...	Harry 'Steve' Morgan
Walter Brennan	...	Eddie
Lauren Bacall	...	Marie 'Slim' Browning
Dolores Moran	...	Mme. Hellene de Bursac
Hoagy Carmichael	...	Cricket
Sheldon Leonard	...	Lt. Coyo
Walter Szurovy	...	Paul de Bursac (as Walter Molnar)
Marcel Dalio	...	Gerard (Frenchy)
Walter Sande	...	Johnson, fishing customer
Dan Seymour	...	Capt. M. Renard
Aldo Nadi	...	Renard's bodyguard
listado alfabético del resto del reparto:
Audrey Armstrong	...	Dancer (uncredited)
Joy Barlow	...	(uncredited)
Eugene Borden	...	Quartermaster (uncredited)
James Burross	...	Bit part (uncredited)
Jack Chefe	...	Guide (uncredited)
Louise Clark	...	Waitress (uncredited)
Adrienne D'Ambricourt	...	Cashier (uncredited)
Jean De Briac	...	Gendarme (uncredited)
Marcel De la Brosse	...	Sailor (uncredited)
Fred Dosch	...	Gaulist (uncredited)
Alphonse Du Bois	...	Bit (uncredited)
Elzie Emanuel	...	Black urchin (uncredited)
Fred Farrell	...	Headwaiter (uncredited)
Lance Fuller	...	Bit part (uncredited)
Harold Garrison	...	Black urchin (uncredited)
Janette Grae	...	Rosalie (uncredited)
Suzette Harbin	...	Waitress (uncredited)
Margaret Hathaway	...	Waitress (uncredited)
Frank Johnson	...	Bit part (uncredited)
Hal Kelly	...	Detective (uncredited)
Sir Lancelot	...	Horatio (Queen Conch crewman) (uncredited)
Keith Lawrence	...	Flirtatious Frenchman (uncredited)
Oscar Loraine	...	Bartender (uncredited)
Paul Marion	...	Beauclere (Gaulist) (uncredited)
Maurice Marsac	...	Gaulist (uncredited)
Louis Mercier	...	Gaulist (uncredited)
Chef Milani	...	Chef at Marquis Hotel (uncredited)
Gussie Morris	...	Waitress (uncredited)
Kanza Omar	...	Waitress (uncredited)
Jack Passin	...	Flirtatious Frenchman (uncredited)
Ron Randell	...	Naval ensign (uncredited)
Pedro Regas	...	Civilian (uncredited)
Margaret Savage	...	Waitress (uncredited)
Patricia Shay	...	Mrs. Beauclere (uncredited)
Milton Shockley	...	Bit part (uncredited)
Emmett Smith	...	Emil (Marquis Hotel bartendr) (uncredited)
George Sorel	...	French officer (uncredited)
George Suzanne	...	Gaulist (uncredited)
Marguerita Sylva	...	Cashier (uncredited)
Roger Valmy	...	Flirtatious Frenchman (uncredited)
Pat West	...	Bartender (uncredited)
Crane Whitley	...	Gaulist (uncredited)
Edith Wilson	...	Black woman (uncredited)
Jack Winslowe	...	Bit part (uncredited)

Dirigida por
Howard Hawks

Créditos del guión
Jules Furthman		(screenplay) and
William Faulkner		(screenplay)
Ernest Hemingway		(novel) uncredited
Cleve F. Adams		uncredited
Whitman Chambers		uncredited

Producida por
Jack L. Warner	....	executive producer
Howard Hawks	....	producer (uncredited)

Música original por
William Lava		(uncredited)
Franz Waxman		(uncredited)

Fotografía por
Sidney Hickox		(director of photography) (as Sid Hickox)

Montaje por
Christian Nyby

Dirección artística
Charles Novi

Decorados
Casey Roberts

Diseño de vestuario por
Milo Anderson		(gowns)

Departamento de maquillaje
Perc Westmore	....	makeup artist

Dirección de producción
Eric Stacey	....	unit manager (uncredited)

Ayudante de dirección
Jack Sullivan	....	assistant director (uncredited)
Robert Vreeland	....	assistant director (uncredited)

Departamento de sonido
Oliver S. Garretson	....	sound
Edward Ullman	....	sound recordist (uncredited)

Efectos especiales
Roy Davidson	....	special effects director
Rex Wimpy	....	special effects

Especialistas
Harvey Parry	....	stunts (uncredited)
George Suzanne	....	stunts (uncredited)

Music Department
Leo F. Forbstein	....	musical director
Leonid Raab	....	orchestrator (uncredited)

Otros miembros del equipo
Louis Comien	....	technical advisor
Meta Carpenter	....	script supervisor (uncredited)
Frederick De Cordova	....	dialogue director (uncredited)
Lance Fuller	....	stand-in (uncredited)

Production Companies

• Warner Bros. Pictures (as Warner Bros.-First National Pictures)

Distributors

• Warner Bros. Pictures (1944) (USA) (theatrical)
• Warner Bros. Pictures (1952) (USA) (theatrical) (re-release)
• Dominant Pictures Corporation (1956) (USA) (theatrical) (re-release)
• United Artists Television (1972) (USA) (TV)
• Warner Home Video (1989) (West Germany) (VHS)
• MGM/UA Home Entertainment (1990) (USA) (VHS)
• Turner Entertainment (1990) (USA) (VHS)
• MGM/UA Home Entertainment (1991) (USA) (video) (laserdisc)
• Warner Home Video (2000) (USA) (VHS)
• Argentina Video Home (2004) (Argentina) (DVD)
• Argentina Video Home (2004) (Argentina) (VHS) (re-release)
• Warner Bros. (2004) (Argentina) (all media) (re-release)
• Warner Home Video (2004) (Germany) (DVD)
• Living Colour Entertainment (2008) (Netherlands) (DVD)
• Sociedade Importadora de Filmes (SIF) (Portugal)
• Warner Home Video (2003) (USA) (DVD)
• Warner Home Video (2006) (USA) (DVD)
• Warner Home Vídeo (????) (Brazil) (DVD)

También conocida como:

Ernest Hemingway's To Have and Have Not (UK) (USA) (complete title)
Tener y no tener (Argentina) (Spain) [es]

Duración:

100 min

País:

USA

Idioma:

English | French

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sonido:

Mono (RCA Sound System)

Clasificación:

USA:Approved (certificate #10052) | Canada:PG (video rating) | Argentina:Atp | Australia:G (TV rating) | Australia:PG (original rating) | South Korea:12 (2003) | Canada:PG (Ontario) | Finland:K-16 (original rating) | Finland:S (re-rating) | Germany:12 | Sweden:15 | UK:A (original rating) (cut) | UK:PG (video rating) (1988) (uncut)

Filming Locations:

Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, California, USA

Company:

Warner Bros. Pictures

Trivialidades:

The movie's line "You know how to whistle, don't you, Steve? You just put your lips together and blow." was voted as the #34 movie quote by the American Film Institute (out of 100).

Goofs:

Revealing mistakes: When Morgan throws water at Eddie, the bucket is obviously empty - noticeable both in the way it's handled, and in a momentary glimpse of the insides before the camera cuts to Eddie.

Quotes:

Title Card: [first lines]
Title Card: Martinique, in the summer of 1940, shortly after the fall of France.
Title Card: Forte de France
Steve: Morning.
Officer at port: Good Morning, Captain Morgan. What can I do for you today?
Steve: Same thing as yesterday.
Officer at port: You and your client wish to make a temporary exit from the port?
Steve: *That* is right.
Officer at port: Name?
Steve: Ha - Harry Morgan.
[...]

Movie Connections:

Referenced in "Kokkino domatio, To: Mia nyhta stin Athina (#1.13)" (2005)

Soundtrack:

Hong Kong Blues

Only the Names are Retained.

It's kind of like "Sex and the Single Girl" or "What You've Always Wanted to Know About Sex." The titles are familiar or engaging enough to justify building a complete story from scratch. (See also, "The Best of Sex and Violence," which is the greatest title ever dreamed up, far superior to, say, "Henry IV, Part Two.") The novel opens and closes with slam bang action scenes and there isn't much in between to draw us to the characters. One-armed guys can be good heroes or villains, but not heroes who lose.

The story is that Howard Hawks and Hemingway were having drinks and that Hawks claimed he could take even Hemingway's lousiest novel and make a successful movie out of it. They agreed that "To Have And Have Not" was about the lousiest and the bet was made. Evidently Furthman threw the contents of the novel out of the window except for the general Caribbean setting, Harry Morgan's occupation as skipper, and the names of some of the characters.

It's doubtful that Hawks truly enjoyed himself during the shooting. He had a habit of hiring delicious young women for his movies and then, well, then bonding with them. In this case, he had his eye on Bacall, who was 18 years old, but she bonded with Bogart instead. Hawks also had a habit of avoiding actors who stole his women and punishing the women too, so it was Bogart's next-to-last film with Hawks. It wasn't the first time. In Kirk Douglas's movie with Hawks, the actor stole Elizabeth Threatt, a major masochist, who came like water and like the wind she went. And it was good-bye to both John Ireland and Joanne Dru after "Red River." Poor Hawks.

The writers, which evidently included Jules Furthman and William Faulkner, built up a story that sizzled with sexuality at the time of its release but seems like of loose-limbed, gangly, and amusing today. (The oft-parodied scene in which Bacall tells Bogart how to whistle -- "You just put your lips together -- and blow.") Hawks had an affinity for boy's adventure book values. You know, a man rediscovers his pride or sobriety and overcomes his demons and whatnot. It's pretty lowbrow stuff unless you want to get into conjectural homoerotic themes. But Hawks had a solid sense of humor too. He had a tendency to rework scenes so that they had gag lines in them or amusing bits of business. This one has its funny moments too, as well as a bit of action.

None of it is either gripping or believable but it's fun to watch. Bogart and Bacall really hit it off on screen. Her movements are so languorous. She hunches over a bit when she walks, like some tall women do. And her voice -- it's down there in the subwoofer range. At the end, when she and Bogie and Walter Brennan walk out of the bar, Hoagy Carmichael plays a lively little tune and Bacall does a sort of shimmy that must have sent shivers up the male spines of 1944.

While I think of it, I'll give an example of what I meant by "amusing bits of business." The scene -- a French patriot must have a bullet extracted from his shoulder by Bogart. Several people stand around watching tensely. As Bogart probes the bullet hole, another beautiful woman, who Bacall is jealous of, faints to the floor. Bacall is administering ether from a spray can and Bogart tells her to fan the fumes away from the bed or they'll all be out. When Bacall notices that no one is watching her, she hastily fans the gas down towards the body of her unconscious rival. It isn't much, just a second or two, but it adds to our understanding of what's going on and is meanly funny.

Not Hawks' best but enjoyable viewing.