Review

To Have and Have Not was a landmark film for several reasons, not least of all because it introduced Lauren Bacall to the world and became the backdrop for the beginning of one of Hollywood’s most famous marriages. In fact, I’d say the only Hollywood love affair that topped it would have to be Liz and Dick, but that’s not really a fair comparison. To Have and Have Not is based loosely on the 1937 novel of the same name by Ernest Hemingway. Hemingway was friends with Howard Hawks, the director of the film, and it was during a fishing trip they took together that Hawks told Hemingway he could make a great movie out of Hemingway’s worst novel, which in his estimation was To Have and Have Not.

Whether or not he was successful in his quest is not really up for debate, because anyone that sees the film can’t easily forget it. From the time that Lauren Bacall first explodes onto the screen asking if anyone has a match to her infamous line about whistling (watch the scene with the line here), every frame is a delight.

Garfield’s tortured desperation is more fitting and far more interesting than Bogart’s stalwart stoicism.

I say that even though To Have and Have Not isn’t even my favorite adaptation of Hemingway’s novel. The Breaking Point (1950), directed by Michael Curtiz of Casablanca fame and starring John Garfield (in his penultimate role), Patricia Neal, and Phyllis Thaxter, is the far superior film. I know this statement is sure to arouse a lot of strong feelings in some, and I welcome the discourse. It is only my opinion, but I stand by it wholeheartedly. Garfield’s tortured desperation is more fitting and far more interesting than Bogart’s stalwart stoicism. And while Bacall is truly a revelation in this her first film role, her performance has nothing on Phyllis Thaxter’s pleading anguish when trying to convince Harry (Garfield) to reverse course.

It would be really easy to turn a character like that into a stereotype or a caricature, but Brennan is far too capable to let that happen.

Perhaps one of my favorite parts from the film, aside from Bogie and Bacall, of course, is Walter Brennan’s performance as Eddie. Brennan’s Eddie is really a tragic character, but not an obviously tragic one. His alcoholism makes him vulnerable and is also probably one of the driving forces behind Morgan’s (Bogart’s) de facto adoption of him. He’s the kind of person you want to protect but that is seemingly helpless in the face of their own demons. It would be really easy to turn a character like that into a stereotype or a caricature, but Brennan is far too capable to let that happen.

If you’ve seen the film or are inspired to watch it after reading this post, let me know and we can talk about it.

Production Stills

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