Key Largo(in Hollywood Movies) Key Largo (1948) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Key Largo on your mobile, tablets and ipads
Plot: Frank McCloud travels to a run-down hotel on Key Largo to honor the memory of a friend who died bravely in his unit during WW II. His friend's widow, Nora Temple, and wheelchair bound father, James Temple manage the hotel and receive him warmly, but the three of them soon find themselves virtual… Runtime: 100 min Release Date: 31 Jul 1948
One of Bogart's, Bacall's & Robinson's best. (by godamndevil1977)
Basically this film is almost like a play. The whole story is more or less apart from the ending shot in a rustic Florida hotel. A great location and setting, a real credit to John Huston.In short, Frank McCloud Bogart an ex war hero and living at no-fixed-address, visits by request his dead war buddy's father barrymore & widow Bacall . As he arrives, it doesn't take long for Frank to work out the Hotel is temporarily hostage to a big mob gangster - Rocco robinson and his cronies.The film instantly grabs you, it looks beautiful, there is a lot of substance and well <more>
thought out scripts, nothing glamorous or smart, just very good story telling. A good side line to the story, are the Native American clan, who due to an approaching hurricane need to find shelter, their plight is placed nicely into the story. There is a scene in which Bacall introduces Bogart to the oldest member of the clan, a 100 and something year old Native woman which is just so genuine, I still don't believe this woman was an actress, Huston must have improvised this into the script.Not only is Bogart superb in this, but also the whole cast. It goes without saying Edward G Robinson's performance was second to none as to was - his right hand man Harry Lewis I think , Bacall & Rocco's girlfriend - Ziggy..pretty much the entire cast.The whole thing ties up well, without Spoilers it does have a great ending. This is a must not just for Bogie fans but for anyone who can appreciate an intelligent film.-Paul Browne.
Key Largo is an absolutely brilliant film. Cast and screenplay are both superb. Bogart and Bacall have an intense personal chemistry that sparks on screen, and the supporting cast of Barrymore and E. G. Robinson give their best performances ever. Robinson, in particular, as the slimy gangster johnny rocco is great - his portrayal of the 'banality of evil' is the best I've ever seen.The screenplay is magnificent. Not just the dialog, but also the balance of characters is perfect. For each good character there is a bad one of equal weight, forming a perfectly complementary totality, <more>
a yin/yang balance that teeters between triumph and disaster according to the finest shades of personal choice. It's an examination of freedom, of corruption, of courage and betrayal - a perfect encapsulation of the world, focused upon a hotel on a tiny island in the middle of a hurricane.This movie deserves more recognition than it gets. The action is understated but intense, densely-packed with meaning and significance, at both the individual and cultural level. Watch this movie with new eyes!
I have 4 Humphrey Bogart movies in list of favorites: The Maltese Falcon, Casablanca, The African Queen and Key Largo. I know that compared to the other three, it is considered a "lesser" work, but it is my favorite Bogart. I am not going to write about the brilliance of all the performances in Key Large: Lionel Barrymore, Lauren Bacall, Edward G. Robinson, and Claire Trevor. Enough has been said about them all. I wish to concentrate on Bogart and the loneliness of his character in the movie.Bogart often played damaged characters; i.e., men who had been hurt, badly hurt, at some <more>
time in the past. Frank McCloud in Key Largo is one of those characters. He is not a tough guy like Sam Spade or a "sharp" character like Rick. He is a nice man and a very lonely one. Frank has no family, he was an orphan. He was an officer in the war, but the war is over. He has no job, no family and no prospects. He is tired; tired of being alone and tired of the violence of the war.But Frank has one dream, a borrowed dream. During the war, one of his men often told him stories of his own life with his father and wife and their small hotel in the Florida Keys. It is a tale of family closeness and love, of clean salt air and colorful characters. It is everything Frank has never had in his life. After the war and the death of his friend, Frank has nowhere to go and nothing to look forward to. So he finally drifts to Florida, to this family, to tell them how much he respected and liked his friend.They, Nora and Father Temple, are very glad to meet Frank. Just as Frank had been told about them, they had been told about Frank in letters sent home from the war. Into this comes Johnny Rocco and his goons and his moll. Frank is a decorated soldier and a brave man, there are too many innocent lives at stake, Nora and Mr. Temple and even Gaye Dawn, the alcoholic moll. Frank cares about these people, even Gaye, and he does not want them to be hurt and perhaps more than anyone else there, he knows the terrible devastation bullets can wreak on the human body. This sets up the conditions for all the talk while they are trapped by the hurricane. I will not say any more about twists of the plot because I do not want to include spoilers.Let me just say that in the end, Nora and Father Temple realize that they need Frank as much as Frank needs them. And so Frank is finally able to come home. He finally "has it all ... in Key Largo."
My favorite Bogart movie is also Key Largo. Even before Edward G. Robinson and his hoods take everyone hostage in Lionel Barrymore's hotel there is a tension that does not let up for one second. Movie goers had to be on the edge of their seats in 1948.There is one scene however that I don't think viewers today can fully appreciate. Lionel Barrymore had been acting from a wheelchair for 10 years and movie audiences were used to that. When Robinson and his goons goad him to a futile gesture of bravado, Barrymore rises from that chair and moves slowly towards the snickering Robinson. He <more>
swings and misses and falls down and Bogey and Bacall pick up Barrymore and bring him back to his wheelchair. The shock value of that scene for 1948 audiences would have a dimension that can't be appreciated now.Robinson's Johnny Rocco is based on Lucky Luciano who had been deported a few years back. He's evil incarnate and Humphrey Bogart as Frank McCloud is the jaded, cynical former idealist who redeems himself and becomes the countervailing force for good. They play well against each other in a reverse from the 1930s Warner gangster flicks where Robinson was usually the good guy.Who could have known this would be the fourth, last, and best of the Bogey and Bacall teamings.
"Key Largo" was the second collaboration between Humphrey Bogart and John Houston during 1948 the other being "The Treasure of the Sierra Madre . Both films represent both artists at the peak of their respective careers."Key Largo" is about a group of gangsters who have taken over a hotel located on Key Largo. Along comes Bogey, who has come to visit the father of a war time pal who was killed, and of course, gets drawn into the drama.Huston's cast is flawless. Bogart as Frank McCloud is suitably laid back and brave as he confronts the gangsters headed by Edward <more>
G. Robinson as Johnny Rocco. Lauren Bacall plays the widow of Bogey's war time friend and the venerable Lionel Barrymore is outstanding as Temple, the hotel proprietor. Claire Trevor plays Rocco's moll Gaye Dawn, an alcoholic former singer for which she deservedly won the Academy Award for Best Supporting Actress. Appearing as as Rocco's henchmen are veterans Thomas Gomez and Dan Seymour and Harry Lewis as Toots a "Wilmer" type character from "The Maltese Falcon" . Monte Blue and John Rodney represent the law.Bogart and Robinson appeared together many times during the 30s with Robinson usually playing the hero and Bogey the heavy. This time their roles are reversed. This film was unfortunately, the last time Bogart and Robinson appeared together. It's a pity because they always played against each other so well. I always liked Robinson better on the wrong side of the law. His Rocco is a slimy brutal villain. He even gets to slap Bogey around in this one.It is interesting to note the name of the boat that the gang make their getaway on is called "Santana". Santana was the name of Bogey's own personal boat and the name of his production company.
The genius of John Huston on display! (by jotix100)
John Huston was a remarkable man who was an excellent director, as well as a superb adapter of other people's materials, as he clearly shows in "Key Largo". This movie, based on Maxwell Anderson's play, is a triumph for Mr. Huston, who co-wrote the adaptation with Richard Brooks, another man who would go on to direct his own movies.Mr. Huston had an uncanny way to get the best people in the business in his projects. Karl Freund's black and white cinematography is wonderful, as is the haunting music provided by Max Steiner, a man who was a genius in his own right for <more>
always giving that special touch to the scores he was hired to do."Key Largo" has been compared with "The Desperate Hours", in which Humphrey Bogart also appeared. In fact, both were theatrical plays, and perhaps that's the basis of the comparison. As much as Mr. Huston tried to open "Key Largo", it still has a certain feeling of the drama one would get in a stage production.This is a film that has Humphrey Bogart playing a good guy, Frank McCloud, not his usual bad guy from other movies. Also, we see a rather quiet Lauren Bacall as Nora Temple; in her other films with Mr. Bogart she played more sultrier roles. Edgar G. Robinson is perfect as the crooked Johnny Rocco, the gangster that has decided to take over the Largo Hotel to do his business. In a great performance, Mr. Robinson shows an ugly side. Claire Trevor plays a gangster moll Gaye Dawn and has a great opportunity. Also Lionel Barrymore, Thomas Gomez and Harry Lewis are seen in supporting roles."Key Largo" will not disappoint because it shows a tense situation in which at the beginning seems a hopeless cause, but the hurricane will change things around and justice and sanity will prevail.
While chiefly remembered as a Bogart/Bacall vehicle, this story of expatriate gangsters commandeering a sleepy tropical hotel is, in actuality, a tightly directed ensemble piece with acting chops to burn.There's Edward G. Robinson as Johnny Rocco--the brash, boisterous, sleazy gangster whose frailties cowardice and a yearning for better times gradually unfold before us. There's Lionel Barrymore as James Temple, the delightfully feisty and crusty hotel owner overcome with revulsion at Rocco's presence. There's Thomas Gomez, Harry Lewis, Dan Seymour and William Haade as Curly, <more>
Toots, Angel and Ralphie--Rocco's colorful but hard-edged thugs who are presences unto themselves. There's Claire Trevor as Gaye, Rocco's declining, alcoholic moll who symbolizes more than anything how far Rocco has fallen.That's an awful lot. Too much scenery-chewing from Bogart or Bacall would push it over the top--and director/screenwriter/demigod John Huston knows it. He coaxes remarkably restrained and subtle performances out of his star couple. The romantic tension between them is suggested but never shoved in the audience's face. Bogart's wandering war vet Frank McCloud keeps his lips tight and plays his cards close to the chest--a streetwise outsider through and through. Bacall's Nora Temple lets her anger and distaste pour out through her smoldering eyes more often than her mouth.Ultimately, the subtlety is so well-hidden between the gigantic performances of Robinson and Barrymore that you might miss just how sophisticated Frank's story is. Disillusioned and drifting since the war, he stops in to visit the wife Nora and father James of a fallen comrade whose bravery he admired. Implicit in his visit is an unspoken apology that it is he, and not their loved one, who is returning home. The fallen soldier is a constant unseen presence in the film--his bravery and honor mocking what Frank sees as his own cowardice and inability to stand up to Rocco Bogart's fast-talking explanation of why he didn't shoot Rocco when he had the chance is classic and rare--a protagonist lying to his friends and his audience--"One Rocco more or less isn't worth dying for!" . Frank's eventual decision to take on Rocco and his hoods is a victory against the fear that plagues and shames him.In a larger sense, this is a true period movie about a generation of men returning home from the greatest conflict the world has ever known. Most of our national memories of World War II are proud and triumphant, but, as with any war, it left countless people scarred physically and mentally. Though Frank is a decorated soldier, he feels somehow that what he did wasn't enough because he lived and his friend did not? , and he returns back to a country in which he has no place with no real pride or satisfaction. The confrontation with Rocco affords him a chance perhaps only possible in Hollywood or on the stage, where the story of "Key Largo" was first performed to make things right with his world.While it has not aged as well as the better-known films of Bogart's and Huston's careers, "Key Largo" is a film that, for a little investment of attention and thought, will pay big dividends to anyone that really and truly loves movies.
Key Largo is just one of John Huston's many memorable films that somehow always seem to transcend the intention--the Hollywood intention being to make a few bucks--and to this day still plays very well and indeed appears as something close to a work of art. It features what I think is one of Edward G. Robinson's finest performances as Johnny Rocco, a sociopathic gangster holding the off-season personnel of a seaside hotel hostage as he concludes a counterfeit money deal.The story begins as Major Frank McCloud Humphrey Bogart pays a visit to the family of one of his G.I. buddies who <more>
was killed in Italy during WWII. He finds the welcome from the hotel's only "guests" chilly except for Gaye Dawn a funny and perhaps prescient Hollywood stage name played by Claire Trevor who is drunk and befriends him. After a bit McCloud discovers that the hotel's owner Nora Temple Lauren Bacall and her invalid father-in-law James Temple Lionel Barrymore have been tricked into allowing Rocco's gang to stay and now, as a tropical storm begins to blow, are being held at gunpoint. McCloud's delicate task is to keep the megalomaniac and murderous personality of Rocco under some control so that he doesn't murder everyone.Note that this is a splendid cast, and they all do a good job. Note too that Huston adapted this from a play by the versatile American playwright Maxwell Anderson. So the ingredients for a good film are clearly in place; and aside from some self-conscious mishmash with the Seminoles of Florida, this is a success. Anderson's desire to explore the psychopathic personality some years later he adapted William March's novel The Bad Seed into a stage play finds realization in Huston's direction and especially in Robinson's indelible performance. The utter disregard for the lives of others and the obsessive love of self that characterize the sociopath reek from the snares and callous laughter of the very sick Johnny Rocco. I especially liked the crazed and thrilled grin on his face when he emerges from the hold of the boat in the climactic scene, gun in hand, imagining that he has once again fooled his adversaries and is about to delightfully shoot Humphrey Bogart to death. What I loved about this scene was that Huston did not think it necessary to contrive a fight in which the good guy Bogart beats the bad guy by fighting fair. What happens is exactly what should happen, and without regard for the fine points of Marquis of Queensberry-type rules. Also good is Rocco beginning to sweat in fear of his life as the storm moves in while Bogey gives us his famous laugh and grin as he assesses the essential cowardice of the petty gangster.Lauren Bacall, in one of her more modest roles, does a lot without saying much, and Lionel Barrymore is very good as the cantankerous old guy in a wheelchair. Claire Trevor actually won an Academy Award as Best Supporting Actress for her work, and she was good as the alcoholic moll with a heart of gold. Robinson won nothing, but he really dominated the picture and demonstrated why he was one of Hollywood's greatest stars.Bottom line: watch this to see the gangster yarn meld into film noir with overtones of the psychoanalytical drama that characterized many of the black and white Hollywood films of the forties and early fifties. Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!
The film may lack substance and coherence but it is first-rate drama and entertainment (by Nazi_Fighter_David)
It is difficult to resist the temptation to compare William Wyler's "The Desperate Hours" with John Huston's "Key Largo." Here again the drama arose when a gangster and his thugs sought a temporary hideout by moving in on an innocent family, and were unable to get away until a raging hurricane had blown itself out The family were Lionel Barrymore, complete with wheelchair, and Lauren Bacall, apparently without make-upstunningly attractive Their home was a small hotel in Florida, and "just passing through" was a tough and somewhat mixed-up good guy <more>
Humphrey Bogart The gangster was Edward G. Robinson For Bogart "Key Largo" was another "The Petrified Forest," but this time he was the disenchanted idealist and Edward G. Robinson the vicious, antiquated symbol of raw brute force Paul Muni had appeared in the original Maxwell Anderson play in 1939, and director John Huston and Richard Brooks updated the piece to make it more contemporary As a film, it was treated in a slightly heavy-handed, overly talky manner, displacing action in favor of strong character studies of a group of disparate individuals trapped by a kingpin gangster Claire Trevor won an Academy Award as Gaye Dawn, Rocco's boozy mistress who was willing to lower herself to any depths for the mere expedient of getting a drink She is finally pushed too far by Rocco, has accepted too many insults and been rejected once too often, so she decides to help the besieged prisoners Lauren Bacall was Nora Temple, an antiseptic dreamer who persisted in believing that evil should always be opposed by a valiant Sir Galahad and temporarily has her illusions shattered when Bogart apparently doesn't agree to fit into her mold As Bacall's grandfather, Lionel Barrymore was another heroic figure who, could afford to be a verbal hero, knowing that a retreat to the safety of his confining wheelchair could protect him Edward G. Robinson as Rocco was a mass of contradictions Brutal with a gun safely in his hand, dreaming of the glories he once knew in the good old days when he was a big shot, all he has left are the memories He was a man whose criminal wisdom permits no ethics and few feelings He offers Bogart an empty gun to shoot it out with him... He is also a man afraid, who sweats when the hurricane approaches and poses a threat to his safety... He detests Bogart because of his wartime heroism, mocking and taunting him because his courage is something differing in Rocco's own unheroic life As war hero Frank McCloud, Bogart was the most complex character of all Disillusioned, tired of his war-induced killings, unwilling to risk himself in any new test of courage "One Rocco more or less isn't worth dying for" , he is now a complacent shadow of his former noble self He, like Barrymore, seeks an idyllic world where "there's no place for Johnny Rocco." However, his pattern has been too well established He, like Claire Trevor, can be pushed only so far and then reason and restraint seem no longer acceptable as an alternative to action With such a cast "Key Largo" could not fall to hold the attention Yet, for all its workmanlike craft, it did not reach the level of Wyler's "The Desperate Hours." Bogart, as a disillusioned war veteran who could not rouse himself to action until the last few minutes, left one frustrated: looking for the vicious power that he was to show as the gangster in the later film Edward G. Robinson, commanding, convincing, was still not so coldly frightening a villain as Humphrey Bogart And, one can imagine how the idea of the storming hurricane appealed at the time The violence and the drama outside, as the wind tore at the palm trees and the waves threatened to swallow the little wooden hotel, would surely underscore and heighten the tensions within... Not so! And not only because the studio storm was not always up to nature's level... What William Wyler realized was that the suspense of innocence trapped as hostages by wickedness was vastly heightened by the contrast with a quiet, undramatic, everyday setting No hurricane was needed to put the desperation in "The Desperate Hours."