🎦 Key Largo full movie HD download (John Huston) - Crime, Drama, Thriller, Film-Noir. 🎬
Key Largo
Crime, Drama, Thriller, Film-Noir
IMDB rating:
John Huston
Humphrey Bogart as Frank McCloud
John Rodney as Deputy Clyde Sawyer
Claire Trevor as Gaye Dawn
William Haade as Ralph Feeney
Thomas Gomez as Richard 'Curly' Hoff
Monte Blue as Sheriff Ben Wade
Dan Seymour as Angel Garcia
Marc Lawrence as Ziggy
Lauren Bacall as Nora Temple
Edward G. Robinson as Johnny Rocco
Lionel Barrymore as James Temple
Harry Lewis as Edward 'Toots' Bass
Storyline: 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 prisoners when the hotel is taken over by a mob of gangsters led by Johnny Rocco who hole up there to await the passing of a hurricane. Mr. Temple strongly reviles Rocco but due to his infirmities can only confront him verbally. Having become disillusioned by the violence of war, Frank is reluctant to act, but Rocco's demeaning treatment of his alcoholic moll, Gaye Dawn, and his complicity in the deaths of some innocent Seminole Indians and a deputy sheriff start to motivate McCloud to overcome his Hamlet-like inaction.
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Edward G. Robinson, the Gentleman Criminal
Was it the period in American film-making or was it the period in American history? The Edward G. Robinson character wants the soldier visiting this hotel to pilot his boat, and is patient enough to engage in diligent negotiations with him over it. What can he do? He's already told the soldier (Humphrey Bogart) that the alternative is to let his sidekick work him over. Bogart is reticent, but Robinson is willing to variously analyze the situation before undertaking any action. He's very patient, he looks Bogart in the eyes. Who among criminals in contemporary films is sophisticated like that? We--our society--is supposed to progress along with the progress of our technologies, but our films depict criminals like Jack Nicholson in "The Departed". Robinson displays humanity, he displays feelings and depth, and his demise, though desirable, is tragic. Maybe it was the period in American history following that in which many ordinary adolescents drifted into criminality through the opportunities Prohibition provided. Maybe mature, sophisticated persons with the ability to discriminate well the motives and deceptions of the Bogart character did really live, were a real development from the prohibition on the sales and distribution of liquor. Or maybe respect for individual life was more prevalent in the early days of film-making, and Robinson played a likely 1940s criminal. Respect for individual life is more prevalent when people have only each other, mostly only each other, for companionship. There was the hotel proprietor's daughter, like an old-fashioned country girl. . . none of today's sophisticated entertainment technologies. It was possible to just wade out into the harbor, without having to first wade in your home among the myriad options offered by various electronic devices, then.
A decent thriller
Chiefly notable as a Bogie/Bacall vehicle, "Key Largo" focuses on a group of people trapped in a hotel at the mercy of a dangerous gangster. To make matters worse, a hurricane is approaching, increasing the tensions of all.

The cast is a good one. Bogie & Bacall are the headliners but in my opinion they're outshone by Edward G. Robinson & Claire Trevor (who won an Oscar for her performance). I don't think that there's much of a spark between Bogie & Bacall here but others seem to disagree. I also didn't find their characters very compelling, either.

John Huston was in the director's chair and he did a fine job. The film looks polished, if not particularly remarkable. The Max Steiner score is also above average though it sometimes strikes a maudlin tone.

In the end, I found the story to be rather inconsequential and somewhat lacking in thrills. I also didn't think that Bogart & Bacall contributed as much as they could have. That being said, it's still a decent thriller, which, admittedly, is not a genre that I'm terribly fond of.
The Cast make this Film
"Key Largo" surely has one of the most dynamic group of stars ever assembled by Warner Brothers during the Golden years of Hollywood, The story is very well directed by John Huston, and along with "The Treasure of the Sierra Madre" this has to be his finest. Edward G. Robinson is in his element in this kind of role, and the performance of Claire Trevor was outstanding - certainly good enough to win her the Best Supporting Actress Award. Humphrey Bogart and Lauren Bacall play their roles to perfection, and they are ably supported by Thomas Gomez in a part that suited him brilliantly. I did have a bit of a problem with Lionel Barrymore, as I kept expecting him to shout out for Dr. Kildare. The music is a tribute to Max Steiner - he just never missed. All the Special Effects worked to make this a fairly memorable film.
Pretty tense and exciting, generally satisfying
I often feel like I don't fully understand these kinds of movies. Old ones basically, where there's lots of talking. Ways of life have changed so much. I don't get all of the social cues that are going on. I have no idea what the subtext of all the dialogue is. And yet, I've gotten used to certain patterns over time. I can tell when something's about to go down or if a character's lying or pushing buttons. Still, words aren't needed for certain facial expressions, you can immediately tell what someone is feeling or thinking.

Most of this movie takes place in a hotel. Something comes up and some gangsters are forced to reveal themselves and take the guests and owners as hostages. They don't want any trouble. But then a hurricane comes and things get more complicated. Nobody can leave, at least for a while. Maybe someone will try to be a hero or talk smart. The tension builds.

Johnny Rocco is a famous gangster (based on Al Capone and Lucky Luciano) who all the regular people despise. So much so that some of them can't keep it to themselves in spite of the harm it might bring to them. Edward G. Robinson really gets into the role alternating between brutal coldness and smarmy talking. He's confident but Frank McCloud (Humphrey Bogart) begins to see weaknesses, giving him some leverage. Frank talks logic, he thinks ahead and explains things.

Key Largo seems to have a bit of a theme about war veterans in contrast with gangsters, these two extremes of Americans. The really noble, brave kind Vs. the heartless, selfish, evil kind. Frank (like every Bogart character) announces that he only cares about his own business and it seems true. But even he has to morally conclude that stopping someone like Rocco by any means could only be a good thing. This means he's willing to take some risks to harm Rocco which puts himself and the others in danger. I think there's a bit more emotion here from Bogart than usual. He even smiles a couple of times.

The finale was pretty riveting and satisfying. It's always good when you're actually rooting for the good guys and you want the bad guys dead (because they're that bad). And you're on the edge of your seat because you hope things turn out well but know that anything could happen. It shows that you believe in and care about the characters. Well, what a turbulent experience for all of them!
the ultimate Edward G. Robinson flick
Someone listening to the misleadingly-worded 80's pop song 'Key Largo' by Bertie Higgins might be led to believe that the 1948 film of the same name tells of another classic Bogart/Bacall romance along the lines of 'To Have And Have Not.' Such is not the case. 'Key Largo,' the movie, is instead a taut, mean gangster flick set in the Florida Keys with a hurricane as backdrop. There's really no romance at all between Bogart and Bacall; she plays the widow of a man who served with Bogie's character in WW2. Both are more featured players than anything in an acting ensemble, and the film itself looks and feels like a brutal cousin of 'Petrified Forest,' released eleven years prior. No, the star here clearly is Edward G. Robinson, giving a defining blockbuster performance as Johnny Rocco, one-time top of the heap gang boss who is determined to claw his way back. As with Bogart's Duke Mantee in the earlier film, Rocco and his gang are holed up temporarily, in this case in a hotel waiting to sell a batch of counterfeit money then high-tail to Cuba in a rented boat. The owner and his daughter (Lionel Barrymore and Lauren Bacall) are held hostage, and when Frank McCloud (Bogart) stops by briefly to tell them about the soldier/husband's death, he becomes one as well. Even though Bogart's character is very different than the one in 'Petrified Forest,' it is similar in presentation; McCloud, like Mantee, is largely a brooding presence in the background, only occasionally coming forward to offer a wry comment or challenge. Nora, Bacall's character, is similarly used in key moments but is also seen more than heard. Rocco's gang is a bunch of unredeemable louts. By comparison, Rocco himself almost seems like a reasonable person. Almost. In actuality, Rocco struts around, giving orders, bullying, taunting, teasing... his girlfriend Gaye is a hopeless lush and he berates her endlessly. For the most part, McCloud must stand by and watch, despite wanting to lash out. He is biding his time until he can make his move without risking the others being killed. This is Robinson's show though, and you can't take your eyes off him. Everything people remember about this great actor is right here. There is one long close-up of him getting a shave and he talks non-stop through it, punctuating the lines with his trademark, "yeah... yeah!" every few seconds. Rocco isn't one-dimensional. He is alternately worried and yet oblivious to certain dangers. The hurricane, for instance. At first, the blustery gangster doesn't see what the big deal is. To him, it's just a rain storm. Later, when the hotel is literally shaking on its foundations from the wind gusts, Rocco becomes frightened and paces back and forth. Even later, he is back to being cool and in control, completely unflappable. The alcoholic girlfriend, Gaye, is played by Claire Trevor and she won an Academy Award for her performance in 'Key Largo.' She's good, but Robinson is better. In the end, McCloud agrees to take Rocco and his gang to Cuba and manages to kill them all on the way. He calls the hotel afterward and tells Nora he's coming back. Sorry, Bertie Higgins, but that's the extent of the big romance in 'Key Largo.' And Bogart never says, "Here's looking at you, kid," either. Then again, I guess it's hard to write a romantic love song based on Edward G. Robinson.
Crackles with atmosphere
Moody, tense, well acted and directed piece of 40's Film Noir. Edward G. owns the picture and looms over the proceedings with sadistic menace. Bogart is the disillusioned ex war hero who sacrificed to destroy evil on European battlefields only to return home and find it still firmly established in American society. He is searching for his place in the sun, and unwittingly enters into it at Key Largo. There he is forced again to survive another dark storm, faced with vanquishing evil again before he can find the peaceful and happy life he yearns for. He completely comes across as a weary warrior who wonders what he fought for, and if it's worth it to stick his neck out anymore instead of just taking care of number one. In their genuine honesty and kindness, Bacall and Barrymore represent the light that he believed in defending during the war, Trevor the mistreated victim of tyranny he no doubt saw time and again. You know Bogie is more than capable of dealing with Johnny Rocco and his goons despite his seemingly less than heroic actions early on and the suspense builds right up to the final shootout on the fishing boat. Bacall, far from being the provocative and world-wise good/bad girl she usually plays, is effective here playing the young widow with a gentle heart. As is Barrymore as the respected hotel owner who carries a deep wound at losing his son in war and attempts in vain to honor his memory by standing up to the villains who hold his hotel hostage. Bogie is the only man who can do this and scene by scene they help to renew his faith in human nature enough for him to fight for what's right. A fascinating piece of ensemble melodrama. Highly recommended.

If only they could have hidden the wires on those palm trees...
The gathering storm..
A fine solid psychological gangster movie, post-scripting the careers in this genre of two of the greats, Bogart and Robinson. Although the film ends with bullets and deaths a-plenty as Bogart finds the inner fibre he was lacking earlier under provocation, to take out Robinson and four of his gun-totin' goons (no mean feat), it's more about the clash of wills between Bogart and Robinson not to mention the changing emotions and loyalties of fine supporting characters such as Lionel Barrymore and Lauren Bacall as the wheelchair ridden old-timer and his army widow daughter as well of course the Oscar winning performance by Claire Trevor as Robinson's one-time moll, now callously ridiculed and discarded by him after being driven to drink by his treatment of her. Quite what point was of the two Indians who are mistakenly murdered by the cop on the trail of his murdered (at Robinson's hand) colleague, I'm not sure, but the film moves forward all the time, broodingly with the metaphor of the growing storm in the background, until the climax of Bogart's ultimate grace under pressure. The acting by the two leads is first rate, Robinson (whose character name Rocco coincidentally recalls his first major gangster role Rico in "Little Caesar") so completely "The Man", used to ordering his thugs around and treating everyone else as inferiors (especially the chilling scenes where he whispers menacingly but silently in Bacall's ear) and Bogart as another of his archetypal flawed heroes who finally does the right thing, no doubt inspired by the bravery of the Trevor, Barrymore and Bacall characters who in different ways stand up to Robinson. The direction by John Huston is sure and inventive, often using tracking shots to keep the plot moving and often involving dissolves into darkness, one particular scene where Bacall's face in close-up fades to black, being most memorable. However his job must have been made easier with the quality of the ensemble cast at his disposal.I did find Max Steiner's music distracting and detrimental to the narrative but I'm nit-picking now. Just a fine intelligent watchable movie from the old school, with many on board (in front of and behind the camera) on top form dramatising an interesting and suspenseful story.
Powerful like a tropical hurricane!
Perhaps not as flawless or captivating as some of the other collaborations between Humphrey Bogart and director John Huston (like "The Maltese Falcon", "The African Queen" or "the Treasure of the Sierre Madre"), yet this is another splendid film noir experience with a good pace, fascinating characters and dialogues so beautiful they sound like music to your ears. The screenplay was adapted from a stage play so that means there's only a limited number of settings and the characters, especially the supportive ones, sometimes seem a little basic. Yet this is no restraint for a skilled director like Huston, as he patiently builds up the intrigue and tension towards a terrific anti-climax (the hurricane). Like only he can pull it off, Humphrey Bogart plays an embittered man who, shortly after the war, visits the relatives of a fellow soldier who got killed in action. The Temples own a small hotel on an island off the coast of Florida, where also a lot of Indians live and the menace of tropical hurricanes is constant. Just at the time when Bogie is about to score with beautiful widow Bacall, the hotel is taken over by Italian mafia boss Johnny Rocco and his henchmen, and he's pretty damn angry because the American government wants to deport him. "Key Largo" contains a large amount of dared and effective criticism towards political corruption and the American legal system and it's surprising how the post-WWII heroism of Bogart's character is minimized. This is a very sober film which emotional impact largely only begins to show after the movie is over. The acting is downright terrific with, apart from Bogart and Bacall who always connect greatly, powerful roles for Lionel Barrymore and particularly Edward G. Robinson as the almighty personification of organized crime. Claire Trevor's Oscar-winning performance as the disillusioned gangster puppet is truly memorable as well. Essential viewing!
shock value
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 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.
"Hurricane's On Its Way"
Some innocent people are held prisoner by hoodlums in a ramshackle hotel on the Florida Keys. A tropical storm is brewing. Whether the bad guys will succeed, or get what they deserve, will depend on the courage and resourcefulness of one man ...

"Key Largo" was the second Bogart-Bacall project, and to watch the film is to be left in no doubt that these two are a couple. Their silently-exchanged look of love, sitting on the lobby carpet, is a piece of cinema magic. Earlier, when tying-up the boat, they function naturally as a team. Watch how Bogey draws closer to Bacall by hauling on her rope.

Bogart plays Major Frank McCloud, the war hero who has turned into a drifter. He has made his way down to Key Largo to pay his respects Nora, the widow of one of his men, killed in action at Monte Cassino.

Also staying in the family-run hotel is a bunch of Illinois hoods involved in a money-counterfeiting scam. Their leader is Johnny Rocco (Edward G Robinson), deported from America some years earlier as an undesireable alien, and now making a surreptitious comeback via Cuba. The mobsters look and feel grotesquely out of place on the Key, urban gutter-rats polluting a natural paradise. Old man temple refers to them contemptuously as "You city filth!" The strong northern accents and inappropriate clothing of the mobsters emphasise the sense of their 'wrongness'. Johnny Rocco's respiratory problems in the Southern humidity are symbolically important. In every sense, he doesn't belong here.

The villains have captured and tortured young Sawyer, a decent local cop. They will have to make their getaway before the search for Sawyer brings the authorities to the hotel.

A hurricane is sweeping in from the Gulf. The storm stands as an image of the gangsters and their sudden, violent invasion. In a scene of sombre foreboding, Frank goes around the hotel closing all the shutters, narrowing down the world inhabited by the occupants. An extended family of Seminole indians has come in from the mangroves to shelter in the hotel. Old man Temple has always made them welcome during hurricanes, but now Rocco ruthlessly excludes them, abandoning them to fare as best they can in the storm. The no-good alien, constantly bleating about America's inhospitality towards him, shuns the true Americans mercilessly.

Gaye Dawn (played by Claire Trevor, who died recently) was a beautiful woman a few short years ago. Now she is a broken-down alcoholic, a gangster's moll with no dignity and no prospects. Johnny humiliates her for amusement, forcing her to sing in return for a drink. She knows that her association with Rocco has ruined her. She sings, "What Have I Gone And Done?"

Rocco keeps his malevolent underlings in place by constantly confronting each one, and extracting professions of loyalty. Each of the mobsters in turn has to undergo the ritual degradation. Rocco seems all-powerful in this little universe of the battened-down hotel, but Nora understands Frank, and knows that he will not accept vasseldom. "The cause isn't lost as long as someone is willing to go on fighting."

The screen images are assembled in tight compositions of almost painterly sensibility (watch for the grouping of figures as Toots reads the newspaper jokes). An excellent long tracking shot sweeps down the staircase as Frank, silent and tight-lipped, endures the garbage spouted by the fat man. Extreme close-ups help establish a mood of great tension as the inmates wait for the storm to hit. Clever back-lighting picks out the craggy features of Bogart in the murk of the beleaguered hotel. Rocco is shot in silhouette as he whispers smut to Nora, the very incarnation of an evil angel.

The hurricane passes, and hope returns. Nora throws open the shutter, allowing daylight to stream into her life once more. The nightmare has passed. "There'll be little to remind you of what happened tonight."
📹 Key Largo full movie HD download 1948 - Humphrey Bogart, John Rodney, Claire Trevor, William Haade, Thomas Gomez, Monte Blue, Dan Seymour, Marc Lawrence, Lauren Bacall, Edward G. Robinson, Lionel Barrymore, Harry Lewis - USA. 📀