Humphrey Bogart Quotes

If you want me, just whistle. You know how to whistle, don't you, Steve? You just put your lips together and blow." (as Marie 'Slim' Browning in To Have and Have Not)

It was the kind of town that made you feel like Humphrey Bogart: you came in on a bumpy little plane, and, for some mysterious reason, got a private room with balcony overlooking the town and the harbor; then you sat there and drank until something happened.

I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me.

When you're a writer, the question people always ask you is, "Where do you get your ideas?" Writers hate this question. It's like asking Humphrey Bogart in The African Queen, "Where do you get your leeches?" You don't get ideas. Ideas get you.

The trouble with the world is that it's always one drink behind.

Things are never so bad they can't be made worse.

The problem with the world is that everyone is a few drinks behind.

I should never have switched from Scotch to Martinis.

"The whole world is three drinks behind. If everyone in the world would take three drinks, we would have no trouble. If Stalin, Truman and everybody else in the world had three drinks right now, we’d all loosen up and we wouldn’t need the United Nations.

A hotdog at the ballgame beats roast beef at the Ritz

I dont mind a reasonable amount of trouble

I watched as Humphrey Bogart’s character used beans as a metaphor for the relative unimportance in the wider world of his relationship with Ingrid Bergman’s character, and chose logic and decency ahead of his selfish emotional desires. The quandary and resulting decision made for an engrossing film. But this was not what people cried about. They were in love and could not be together. I repeated this statement to myself, trying to force an emotional reaction. I couldn’t. I didn’t care. I had enough problems of my own.

The only good reason to have money is this: so that you can tell any SOB in the world to go to hell.

the problems of three little people in a big world don't add up to much

At thirteen desperately watching TV, curling my long legs under me, desperately reading books, callow adolescent that I was, trying (desperately!) to find someone in books, in movies, in life, in history, to tell me it was O.K. to be ambitious, O.K. to be loud, O.K. to be Humphrey Bogart (smart and rudeness), O.K. to be James Bond (arrogance), O.K. to be Superman (power), O.K. to be Douglas Fairbanks (swashbuckling), to tell me self-love was all right, to tell me I could love God and Art and Myself better than anything on earth and still have orgasms.

Dear God in Heaven, I've been a good woman. When I die, all I want is Humphrey Bogart and Matt Damon feeding me grapes, all day long.

I’m told that Sherlock Holmes never said, “Elementary, my dear Watson” (at least in the Arthur Conan Doyle books) Jimmy Cagney never said, “You dirty rat”; and Humphrey Bogart never said, “Play it again, Sam.” But they might as well have, because these apocrypha have firmly insinuated themselves into popular culture.

To put it simply: There was no bunk about Bogie. He was a man.

You're a good man, sister

This could be the start of a beautiful friendship." - Claude Rains to Humphrey Bogart - Casablanca

[Lauren Bacall] and Bogie seemed to have the most enormous opinion of each other's charms, and when they fought it was with the utter confidence of two cats locked deliciously in the same cage.

Acting is like sex: you either do it and don't talk about it, or you talk about it and don't do it.

best Hitchcock films not made by Hitchcock. Here we go: Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment.

Double Indemnity, Gaslight, Saboteur, The Big Clock . . . We lived in monochrome those nights. For me, it was a chance to revisit old friends; for Ed, it was an opportunity to make new ones. And we’d make lists. The Thin Man franchise, ranked from best (the original) to worst (Song of the Thin Man). Top movies from the bumper crop of 1944. Joseph Cotten’s finest moments. I can do lists on my own, of course. For instance: best Hitchcock films not made by Hitchcock. Here we go: Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment.

Lilies used to be a movie theatre, before. Students went there a lot; every spring they had a Humphrey Bogart festival, with Lauren Bacall or Katherine Hepburn, women on their own, making up their minds. They wore blouses with buttons down the front that suggested the possibilities of the word 'undone'. These women could not be undone; or not. They seemed to be able to choose.

Katharine Hepburn said it best. ‘Nature’, she says majestically to Humphrey Bogart in The African Queen, ‘is what we are put in this world to rise above.’ The

Goodbye Kid. Hurry back. – Humphrey Bogart, last words to Lauren Bacall as she briefly left his bedside before his death.

George Williams, the revered evolutionary biologist, describes the natural world as “grossly immoral.” Having no foresight or compassion, natural selection “can honestly be described as a process for maximizing short-sighted selfishness.” On top of all the miseries inflicted by predators and parasites, the members of a species show no pity to their own kind. Infanticide, siblicide, and rape can be observed in many kinds of animals; infidelity is common even in so-called pair-bonded species; cannibalism can be expected in all species that are not strict vegetarians; death from fighting is more common in most animal species than it is in the most violent American cities. Commenting on how biologists used to describe the killing of starving deer by mountain lions as an act of mercy, Williams wrote: “The simple facts are that both predation and starvation are painful prospects for deer, and that the lion's lot is no more enviable. Perhaps biology would have been able to mature more rapidly in a culture not dominated by Judeo-Christian theology and the Romantic tradition. It might have been well served by the First Holy Truth from [Buddha's] Sermon at Benares: “Birth is painful, old age is painful, sickness is painful, death is painful...”” As soon as we recognize that there is nothing morally commendable about the products of evolution, we can describe human psychology honestly, without the fear that identifying a “natural” trait is the same as condoning it. As Katharine Hepburn says to Humphrey Bogart in The African Queen, “Nature, Mr. Allnut, is what we are put in this world to rise above.

Of all the gin joints in the world, she had to walk into mine Casablanca

Life, every now and then, behaves as though it had seen too many bad movies, when everything fits too well - the beginning, the middle, the end - from fade-in to fade-out.

Right there in the middle of the road he took the cigarette out of my mouth and put it in his, then struck a match on his thumbnail and lit the two of them together, exactly like Humphrey Bogart. Then, ever so gently, he put the lit cigarette back in my lips. It seemed almost like we had kissed. Chills ran down my back, but I couldn’t tell for sure if it was thrill chills or the creeps. Sometimes it is very hard to know the difference.

Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment. Now, movies that postdate Hitch: The Vanishing, with its sucker-punch finale. Frantic, Polanski’s ode to the master. Side Effects, which begins as a Big Pharma screed before slithering like an eel into another genre altogether. Okay. Popular film misquotes. “Play it again, Sam”: Casablanca, allegedly, except neither Bogie nor Bergman ever said it. “He’s alive”: Frankenstein doesn’t gender his monster; cruelly, it’s just “It’s alive.” “Elementary, my dear Watson” does crop up in the first Holmes film of the talkie era, but appears nowhere in the Conan Doyle canon.

His consolation prize was a hat. A battered fedora that looked as if it had blown off of Humphrey Bogart during the filming of Key Largo. Sucked up into the atmosphere during the movie’s hurricane, it had ended up here, on the other side of the world, sixty years later. On his head. Even though it had been enshrined in a closet inside the house, it kind of smelled as if it had spent about three of those decades at the bottom of a birdcage. Yesiree. It was almost as fun to wear as the brown leather flight jacket. Which really wasn’t fair to the flight jacket. It was a gorgeously cared-for antique that didn’t smell at all. And it definitely worked for him, in terms of some of his flyboy fantasies. But the day had turned into a scorcher. It was just shy of a bazillion degrees in the shade. He needed mittens or perhaps a wool scarf to properly accessorize his impending heat stroke. “Today, playing the role of Indiana Jones, aka Grady Morant, is Jules Cassidy,” he said, as he slipped his arms into the sleeves. Was anyone really going to be fooled by this? Jones was so much taller than he was.

But having snuck into the room of this American and arranged for a message to be delivered, it suddenly occurred to the Count that Humphrey Bogart would never turn down an offer of a drink after midnight. In fact, all evidence suggested that Bogart preferred his drinking after midnight—when the orchestra had stopped playing, the barstools had emptied, and the revelers had stumbled off into the night. That was the hour when, with the saloon doors closed, the lights turned low, and a bottle of whiskey on the table, Men of Intent could speak without the distractions of love and laughter.

We worked so hard,” [Joan Blondell] said, “and hardly ever had a day off . . . Saturday was a working day and we usually worked right into Sunday morning.” Joan’s good nature may have worked against her in the long run. While fellow Warner Brothers workers Bette Davis, James Cagney, Olivia de Havilland and Humphrey Bogart fought like lions for better roles and more creative input, Joan took things in stride, at least through the early 1930s. “I just sailed through things, took the scripts I was given, did what I was told. I couldn’t afford to go on suspension—my family needed what I could make.

Blaine: (as Humphrey Bogart) TIME'S DIFFERENT HERE, SHWEETHEART. YOU MUST KNOW THAT BY NOW. BUT DON'T WORRY; THE FUNDAMENTAL THINGS APPLY AS TIME GOES BY. WOULD I LIE TO YOU? Jake: Yes. That apparently struck Blaine's funnybone, because he began to laugh again--the mad, mechanical laughter that made Susannah think of funhouses in sleazy amusement parks and roadside carnivals. When the lights began to pulse in sync with the laughter, she shut her eyes and put her hands over her ears. Susannah: STOP IT, BLAINE! STOP IT! Blaine: (as Jimmy Stewart) BEG PARDON, MA'AM. AH'M RIGHT SORRY IF I RUINT YOUR EARS WITH MY RISABILITY. Jake: (hoisting his middle finger) Run this.

learned, too, that if you want to know the truth about a person you should look at his friendships. With his family, a man often acts out of guilt and a sense of responsibility. With women he might be trying too hard to impress, or he’s conniving so he can get laid. And with coworkers, if he wants to get ahead, he’s got to pretend to care about a lot of things that he doesn’t really care about. But with friends, well there’s nothing there but the friendship, and I think it is with his friends that a man ends up revealing who he really is.

—Me llamo Greg... —Te llamas Elton John —dijo Aline, anotándolo. —No —insistió el licántropo—. Me llamo Greg. Greg Anderson. —Elton John —repitió Aline, cogiendo un sello—. Tienes treinta y seis años y eres un limpiachimeneas que vive en Bel Air. —Selló el papel con tinta roja: INSCRITO, y se lo devolvió. El licántropo cogió el papel, confuso. —¿Qué estás haciendo? —Esto significa que la Clave no podrá encontrarte —explicó Tavvy, que estaba bajo la mesa, jugando con un coche de juguete—. Pero que estás inscrito en el Registro. —Técnicamente —dijo Helen, esperando que él aceptara la triquiñuela. Si no lo hacía, tendrían problemas con el resto. Greg miró otra vez el papel. —Es solo mi opinión —dijo—, pero el tipo que viene detrás de mí se parece a Humphrey Bogart. —¡Pues Humphrey será! —exclamó Aline, agitando el sello—. ¿Quieres ser Humphrey Bogart? —le preguntó al siguiente subterráneo, un brujo alto y delgado con cara triste y orejas de caniche. —¿Y quién no? —repuso el brujo. La mayoría de los subterráneos se mostraban inquietos mientras avanzaba la cola, pero cooperativos. Hubo incluso algunas sonrisas y agradecimientos. Parecieron entender que Aline y Helen estaban tratando de socavar el sistema, aunque no el porqué. De pronto Aline señaló a un hada alta y rubia, con un vestido de bambula. —Esa es Taylor Swift.

In his book, Nothing Ever Dies: Vietnam and the Memory of War, Viet Thanh Nguyen writes that immigrant communities like San Jose or Little Saigon in Orange County are examples of purposeful forgetting through the promise of capitalism: “The more wealth minorities amass, the more property they buy, the more clout they accumulate, and the more visible they become, the more other Americans will positively recognize and remember them. Belonging would substitute for longing; membership would make up for disremembering.” One literal example of this lies in the very existence of San Francisco’s Chinatown. Chinese immigrants in California had battled severe anti-Chinese sentiment in the late 1800s. In 1871, eighteen Chinese immigrants were murdered and lynched in Los Angeles. In 1877, an “anti-Coolie” mob burned and ransacked San Francisco’s Chinatown, and murdered four Chinese men. SF’s Chinatown was dealt its final blow during the 1906 earthquake, when San Francisco fire departments dedicated their resources to wealthier areas and dynamited Chinatown in order to stop the fire’s spread. When it came time to rebuild, a local businessman named Look Tin Eli hired T. Paterson Ross, a Scottish architect who had never been to China, to rebuild the neighborhood. Ross drew inspiration from centuries-old photographs of China and ancient religious motifs. Fancy restaurants were built with elaborate teak furniture and ivory carvings, complete with burlesque shows with beautiful Asian women that were later depicted in the musical Flower Drum Song. The idea was to create an exoticized “Oriental Disneyland” which would draw in tourists, elevating the image of Chinese people in America. It worked. Celebrities like Humphrey Bogart, Lauren Bacall, Ronald Reagan and Bing Crosby started frequenting Chinatown’s restaurants and nightclubs. People went from seeing Chinese people as coolies who stole jobs to fetishizing them as alluring, mysterious foreigners. We paid a price for this safety, though—somewhere along the way, Chinese Americans’ self-identity was colored by this fetishized view. San Francisco’s Chinatown was the only image of China I had growing up. I was surprised to learn, in my early twenties, that roofs in China were not, in fact, covered with thick green tiles and dragons. I felt betrayed—as if I was tricked into forgetting myself. Which is why Do asks his students to collect family histories from their parents, in an effort to remember. His methodology is a clever one. “I encourage them and say, look, if you tell your parents that this is an academic project, you have to do it or you’re going to fail my class—then they’re more likely to cooperate. But simultaneously, also know that there are certain things they won’t talk about. But nevertheless, you can fill in the gaps.” He’ll even teach his students to ask distanced questions such as “How many people were on your boat when you left Vietnam? How many made it?” If there were one hundred and fifty at the beginning of the journey and fifty at the end, students may never fully know the specifics of their parents’ trauma but they can infer shadows of the grief they must hold.

As explained above, those who believe in the theory of evolution think that a few atoms and molecules thrown into a huge vat could produce thinking, reasoning professors and university students; such scientists as Einstein and Galileo; such artists as Humphrey Bogart, Frank Sinatra and Luciano Pavarotti; as well as antelopes, lemon trees, and carnations. Moreover, as the scientists and professors who believe in this nonsense are educated people, it is quite justifiable to speak of this theory as "the most potent spell in history." Never before has any other belief or idea so taken away peoples' powers of reason, refused to allow them to think intelligently and logically, and hidden the truth from them as if they had been blindfolded. This is an even worse and unbelievable blindness than the totem worship in some parts of Africa, the people of Saba worshipping the Sun, the tribe of Prophet Ibrahim (as) worshipping idols they had made with their own hands, or the people of Prophet Musa (as) worshipping the Golden Calf. In fact, Allah has pointed to this lack of reason in the Qur'an. In many verses, He reveals that some peoples' minds will be closed and that they will be powerless to see the truth. Some of these verses are as follows: As for those who do not believe, it makes no difference to them whether you warn them or do not warn them, they will not believe. Allah has sealed up their hearts and hearing and over their eyes is a blindfold. They will have a terrible punishment. (Surat al-Baqara, 6-7) … They have hearts with which they do not understand. They have eyes with which they do not see. They have ears with which they do not hear. Such people are like cattle. No, they are even further astray! They are the unaware. (Surat al-A‘raf, 179) Even if We opened up to them a door into heaven, and they spent the day ascending through it, they would only say: "Our eyesight is befuddled! Or rather we have been put under a spell!" (Surat al-Hijr, 14-15)

So,” John said, “I’ll meet you at your place at eight, and we can walk over together?” “What? For what?” “The vigil.” “I’m not going to that.” I tried to ignore his surprise, his dogged faith. “Of course you are.” “I don’t know this person.” John continued to stand there, arms hanging down. The knife skidded so much I lost my grip and had to pick it up again. “It could’ve been you,” he said finally. “No,” I said, chopping bluntly, breaking more than slicing the lettuce, “it couldn’t. I’ve worked my whole life so that it couldn’t be me.” White flash of a face. Where did they go, those boys, after they left us behind? “Last night,” John began. He paused, still looking wounded. “You were so happy.” I gathered the lettuce into a bin and held it against my stomach like a barrier. “If it had been me, it would’ve been your fault.” John reeled as though I’d struck him. “You’re a coward,” he said. “You’ve worked your whole life because you’re a coward.” “What do you know? What do you know about anything?” His family moved for him. The hormones. The surgery he was allowed to accept or reject. I waved my arm around the kitchen, at the stunned cooks watching us. “Nobody has to know about you! You can blend in whenever you want!” “You honestly believe that? You think my life’s been easy?” “Yes, I think it’s been fucking easy!” I screamed. “They don’t know! I didn’t know! I wish I still didn’t know!” I tried to shove past him. He touched my back. I remembered Humphrey Bogart’s hand, I remembered dancing, I remembered the gown twirling, I remembered the boy who complimented my ass, I remembered being told I was beautiful. I remembered the woman staring back at me in the Métro windows, her wink. I tried to pull away. John embraced me with my arms pinned to my sides, the lettuce bin between us, its raw, wet smell pushed toward our faces. In full view of the entire kitchen, he kissed me. A kiss that made me think of the woefully few people I had kissed in my life. A kiss that reminded me I had never been loved. A kiss that said I could not be John unless I risked being Dana.   My

He leaned in and pretended to examine every counter of my face, as though he were Lauren Bacall and I was Humphrey Bogart from Dark Passage. Then he pulled back and did a comical double-take like Cary Grant in My Favorite Wife.

Huston Starring: Humphrey Bogart,

What is now Tanzania was once Tanganyika and before that part of British East Africa and prior to that a colony of Germany. During World War I the fighting actually came to the Continent of Africa. Known as the East African Campaign, many of the battles almost went unreported and are little known, however the romance of this war is portrayed by many novels and the well-known movie “African Queen,” starring Humphrey Bogart and Katherine Hepburn. The film is a stretch, but strictly speaking it is based on a true story, however even saying this, neither the original novel nor the movie bears more than a passing resemblance to reality. The four years of warfare mostly fought in Europe, cost the lives of hundreds of thousands of people and affected many millions more. The campaigns, skirmishes and battles in Africa, although relatively small, cost the lives of 14 German soldiers with 34 being wounded whereas the British had a total of about 150 casualties. “In actual fact the four years of warfare from 1914 to 1918, cost the lives of hundreds of thousands of people and affected many millions more. The campaigns, skirmishes and battles although relatively small, cost the lives of 14 German troops with 34 being wounded whereas the British had a total of about 150 casualties. An example of the type of battles fought in Africa was the Battle of Bukoba. Here the British objective was the destruction of the Bukoba wireless station on the shore of Lake Victoria, it was decided that the raid should take the form of an amphibious assault by the Loyal North Lancashire Regiment and the 25th Frontier Royal Fusiliers who served in the African Theatre of war around Lake Tanganyika, British East African and German East African territory. Upon reaching the objective at Bukoba, the attackers were mistakenly landed in a large swamp and were pinned down by fierce rifle

Things are never so bad they can’t be made worse.” ~Charlie Allnut (aka Humphrey Bogart),The African Queen

What woman was going to choose Alfred Einstein over Humphrey Bogart?

Actors such as Cagney, Robinson and Bogart seem to gather within themselves the qualities of the genres they appear in, so that the violence, suffering and angst of the films is restated in their faces, physical presence, movement and speech. By the curious alchemy of the cinema, each successive appearance in a given genre further solidifies the actor's screen persona until they no longer play a role but assimilate it to the collecive entity made up of their own body, personality and past screen roles. For instance, the beat-up face. tired eyes and rasping voice by which we identify Humphrey Bogart are, in part, selections we have made from his roles as Sam Spade, Philip Marlowe and others.

In The New Biographical Dictionary of Film, David Thomson argues that Brennan should have won awards for even better performances in To Have and Have Not (1944), My Darling Clementine (1946), Red River (1948), The Far Country (1955), and Rio Bravo (1959). Thomson counts no less than twenty-eight high caliber Brennan performances in still more films, including These Three (1936), Fury (1936), Meet John Doe (1941), and Bad Day At Black Rock (1955). Brennan worked with Hollywood’s greatest directors—John Ford, Howard Hawks, William Wyler, King Vidor, and Fritz Lang—while also starring in Jean Renoir’s Hollywood directorial debut, Swamp Water (1941). To discuss Brennan’s greatest performances is also to comment on the work of Gary Cooper, Henry Fonda, Dana Andrews, Spencer Tracy, John Wayne, Humphrey Bogart, Lauren Bacall, Anne Baxter, Barbara Stanwyck, Lana Turner, Linda Darnell, Ginger Rogers, Loretta Young, and many other stars.

Some lines you just don't cross. Not in my business." "Your business?" Georgia rolled her eyes. "You mean the private detective business? I wasn't aware you guys had such ironclad rules about making out with clients." She ignored the choking sound he made. "Seriously, have you even seen The Maltese Falcon?" Darius' face heated. "This isn't some movie, Ms. Clare. You're not Mary Astor, and I'm sure as hell no Humphrey Bogart. Here in the real world, there are rules.

I dreamed of becoming an elite White House Secret Service officer, a member of its Uniformed Division. Nothing more—and certainly nothing less. My dream came true. I stood guard, a pistol at my hip, outside the Oval Office, the last barrier before anyone saw Bill Clinton. The last barrier before Monica Lewinsky saw Bill Clinton. Yes, I’m that Secret Service officer. I saw Monica, and I saw a lot more. I saw Hillary, too. I witnessed her obscenity-laced tirades, her shifting of blame, how she berated Vince Foster until he could stand no more, how minor incidents involving blue gloves and botched invitations sent her into a tizzy. It was like watching Humphrey Bogart in The Caine Mutiny obsessing about a quart of missing strawberries—and losing sight of the world war raging about him. I saw Hillary scheming with Dick Morris to undermine White House Chief of Staff Leon Panetta. FBI agents confided in me about her emerging Filegate scandal; they were just as frustrated with Hillary’s methods as we were. Life at the Clinton White House careened from crisis (manufactured or not) to even greater crisis, the participants often unable to catch their breath and certainly incapable of learning from them. The Clinton White House atmosphere alternated from hilarity to bitter anger, lurching from nerves-on-end tension to sheer boredom, its most important residents painfully trapped between illusion and reality.

I’m okay, Mom. Really.” My father hung back for a moment, as was his way. His eyes were wet and red. I looked at his face. He knew. He hadn’t bought the story about Africa with no phone service. He had probably helped peddle it to Mom. But he knew. “You’re so skinny,” Mom said. “Didn’t they feed you anything there?” “Leave him alone,” Dad said. “He looks fine.” “He doesn’t look fine. He looks skinny. And pale. Why are you in a hospital bed?” “I told you,” Dad said. “Didn’t you hear me, Ellen? Food poisoning. He’s going to be fine, some kind of dysentery.” “Why were you in Sierra Madre anyway?” “Sierra Leone,” Dad corrected. “I thought it was Sierra Madre.” “You’re thinking of the movie.” “I remember. With Humphrey Bogart and Katharine Hep-burn.” “That was The African Queen.” “Ohhh,” Mom said, now understanding the confusion. Mom let go of me. Dad moved over, smoothed my hair off my forehead, kissed my cheek. The rough skin from his beard rubbed against me. The comforting smell of Old Spice lingered in the air. “You okay?” he asked. I nodded. He looked skeptical. They both suddenly looked so old. That was how it was, wasn’t it? When you don’t see a child for even a little while, you marvel at how much they’ve grown. When you don’t see an old person for even a little while, you marvel at how much they’ve aged. It happened every time. When did my robust parents cross that line? Mom had the shakes from Parkinson’s. It was getting bad. Her mind, always a tad eccentric, was slipping somewhere more troubling. Dad was in relatively good health, a few minor heart scares, but they both looked so damn old.

I turned on the television screen and computer and fast-forwarded Casablanca for one last try. I watched as Humphrey Bogart’s character used beans as a metaphor for the relative unimportance in the wider world of his relationship with Ingrid Bergman’s character and chose logic and decency ahead of his selfish emotional desires. The quandary and resulting decision made for an engrossing film. But this was not what people cried about. They were in love and could never be together. I repeated this statement to myself, trying to force an emotional reaction. I couldn’t. I didn’t care. I had enough problems of my own.

Whether in a white dinner jacket or in a trench coat and a snap-brim fedora, he became a new and timely symbol of the post-Pearl Harbor American: tough but compassionate, skeptical yet idealistic, betrayed yet ready to believe again, and above all, a potentially deadly opponent.

The only point in making money is so you can tell some big shot where to go.

Arthur, what does this mean?" "Mister Bogart, it means that in 10 minutes you will be sworn in as the 24th President of the United States." "I can't believe a goddamned wisdom tooth infection got Charlie," Vice President Humphrey Bogart tossed the sheet of paper his secretary brought him, "If you weren't twenty, I'd offer you this damned job." "Sir, you keep tossing the Lord around, people are gonna call you a Red.

You should see the latest computer-generated movies featuring the long-gone old stars with the new. I've watched the video of Arizona Sunset at least a dozen times." "Who plays the leads?" "Humphrey Bogart, Lionel Barrymore, Marilyn Monroe, Julia Roberts, and Tom Cruise. It's so real, you'd swear they all acted together on the set.

Unfriendly’ witnesses and those who opposed the hearings, such as John Huston, Katharine Hepburn, Lauren Bacall and Humphrey Bogart, were vilified.

On the wall is a large blow up photo of Humphrey Bogart.” I only picked Bogart because there was a popular poster of him selling around at that time. It was logical then, having the movie fantasies, that Bogart would be in one, and I conveniently used him over and over as I wrote and he became a major character in the story. I wrote and rewrote in that Chicago hotel room. I ate ribs with my friends John and Jean Doumanian. In those days, Chicago had a joint called the Black Angus that had ribs the taste of which gave life meaning you couldn’t get from religion, psychoanalysis, or great art. At that age I ate ribs,

When le dessert finally arrives, it looks like an innocent upside-down chocolate cupcake, accompanied by a small cloud of freshly whipped cream. But when my spoon breaks the surface, the chocolate center flows like dark lava onto the whiteness of the plate. The last ounce of stress drains from my body. I feel my spine soften in the chair. The menu says Moelleux au Chocolat "Kitu." "'Kitu' is a pun," says Gwendal, with his best Humphrey Bogart squint. "It means 'which kills.'" I have discovered the French version of "Death by Chocolate.

as Katharine Hepburn majestically said to Humphrey Bogart in The African Queen, “Nature, Mr Allnut, is what we were put on earth to rise above.

«Nunca debí cambiarme del scotch a los martinis»; Humphrey Bogart.

As a boy, I admired Humphrey Bogart in a big way. I coveted the homburg and trench coat. I wanted to pack heat and smoke unfiltered cigarettes and give them long-legged dames in mink stoles the squinty-eyed once-over. I longed to chase villains, right wrongs, and restore the peace. Upon surviving into manhood, I discovered the black and comedic irony that is every gumshoe’s existential plight, the secret that dime novels and black-and-white movies always elide: each clue our intrepid detective deciphers, each mystery he unravels, each crime he solves, makes the world an unhappier place. I got smart and became a gangster instead. More money, more women, and better clothes. Much less in the way of mystery. As for the misery quotient? Basically a wash.

Pontiero cogió una silla, la colocó al revés y se sentó a la izquierda, con las manos en el respaldo. Dicanti tomó nota mental de recordarle que dejara de imitar las películas de Humphrey Bogart. El vice ispettore había visto El halcón maltés unas trescientas veces.

But no single star of the genre captivated Osip more than Humphrey Bogart. With the exception of Casablanca (which Osip viewed as a woman’s movie), they had watched all of Bogart’s films at least twice. Whether in The Petrified Forest, To Have and Have Not, or, especially, The Maltese Falcon, Osip appreciated the actor’s hardened looks, his sardonic remarks, his general lack of sentiment. “You notice how in the first act he always seems so removed and indifferent; but once his indignation is roused, Alexander, there is no one more willing to do what is necessary—to act clear-eyed, quick, and without compunction. Here truly is a Man of Intent.

HIGH SCHOOL DROPOUTS, n. Teenagers who are often too curious to stay in school. Notable ones include Richard Branson, Walt Disney, Mark Twain, Amancio Ortega, Ingvar Kamprad, John D. Rockefeller, Quentin Tarantino, Katy Perry, Arnold Schwarzenegger, Johnny Depp, Tom Cruise, Nicole Kidman, Robert Downey Jr., Marilyn Monroe, Jay-Z, Marlon Brando, Christina Aguilera, John Travolta, Courtney Love, Chris Rock, Frank Sinatra, Elton John, Eminem, David Bowie, Keanu Reeves, Jim Carrey, Whoopi Goldberg, Catherine Zeta-Jones, Kurt Cobain, Mark Wahlberg, Uma Thurman, Seth Rogan, Ray Charles, Al Pacino, Daniel Radcliffe, Diana (Princess of Wales), Robert De Niro, Phil Collins, George Harrison, Humphrey Bogart, Kevin Bacon, and many more.

I was born when you kissed me. I died when you left me. I lived a few weeks while you loved me