The Lady Vanishes: Miz Bacall Takes Her Final Curtain…

A few years back, I once had to “explain” who Lauren Bacall was to a friend thanks to (of all things) a rather hilarious episode of The Sopranos where she was unceremoniously mugged by one of the main characters after an awards show:

When I said “explain” above, I didn’t do much in the way of talking at all other than to point him in the direction of Howard Hawks’ brilliant To Have and Have Not so he could see one tiny reason why she was so important. I’d say she got a lot more respect after that. And a whistle, most likely. This is turning into a kind of rotten week for falling stars, isn’t it? Still, while I’m not a believer in the afterlife, I’d bet that right about now, Bogie is sitting on a bar stool about to have a round when the doors swing open, a certain someone walks in with a cool breeze blowing behind her and without turning around, he lifts up his left hand which has two unlit cigarettes in it and says “What kept you, doll? I was getting bored here”, to which he’ll hear a smoky, purred “You were getting lonely here, you mean…”, as the lady takes both smokes and lights them then passes one back to him as he’s turning around.

They kiss (of course), THE END

Fade out. Roll credits…

Random Film of the Week: Dark Passage

1947 seems to have been a year for some interesting (albeit not entirely successful) experiments by Hollywood movie makers using a subjective camera (or first-person viewpoint) to tell a story.  Movie audiences got a pair of dramas in the form of actor-turned-director Robert Montgomery’s Lady in the Lake, (shot a year earlier, but released in ’47) based on the popular Raymond Chandler novel and Dark Passage, Delmer Daves’ adaptation of a terminally so-so David Goodis novel.  I was going to do this column on the former film at first, but a coin toss brings you Bogie and Bacall in the more interesting, but tremendously flawed film. Don’t get me wrong here – both movies have their issues, but both are worth viewing for a few reasons including their unique use of POV storytelling. That and you have to go with a film that doesn’t show the face of its lead for about an hour, but works in some lovely shots of a San Francisco that’s long gone thanks to “progress” in transportation and probably even earthquake proofing…

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