Humphrey Bogart as Star (Discussion)

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  1. Groups 5 and 1: Sklar comments, "Actors who create surprise, embody contradiction, impel the spectator to hold two conflicting ideas in the head at the same time, stand a better chance." What contradictions does Bogart embody? (Sklar also calls it “doubleness.”) Are they in evidence in The Maltese Falcon, Dark Victory, or The Petrified Forest?
  2. Groups 6 and 2: According to Sklar, how had Bogart been typecast up until the time of Maltese Falcon and how does he modify this into a "new screen persona" as Sam Spade? Is his old stereotyping evident in Dark Victory and The Petrified Forest?
  3. Group 3: In The Big Sleep, what does Bogart bring to the noir private eye besides toughness (see video clip)? Do you see the same things in Maltese Falcon? How does Bogart’s romantic aspect change with The Big Sleep? How does Sklar characterize Bogart’s on-screen persona, as embodied in The Big Sleep?
  4. Group 4: What performance signs (although he does not call them that) does Sklar see in Bogart’s work? And what significance do they have?

All Groups:

  1. What connection does Sklar see between violence and romance — especially in In a Lonely Place (see In a Lonely Place and Play It Again, Sam video clips)? Is this evident in Petrified Forest, Dark Victory (see video clip), The Maltese Falcon, or other Bogart films you've seen?
  2. What does Sklar see to be the importance of comedy to Bogart’s roles? Is this evident in The Petrified Forest, Dark Victory (see video clip), The Maltese Falcon, or other Bogart films you've seen?
  3. How does Wikipedia describe the image that Bogart built up during his time in lower-budget gangster films of the 1930s (for Warners)?

Bibliography

  1. Robert Sklar, City Boys: Cagney, Bogart, Garfield (Princeton, NJ: Princeton University Press, 1992).
  2. Wikipedia contributors, "Humphrey Bogart," Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Humphrey_Bogart&oldid=888300452 (accessed March 18, 2019).

External links