🎦 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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tightly packaged film
Look at who is involved in this film, and then try to tell me that you don't expect something halfway decent. Anyway, this is one of the greats. Great performances, cool story, good characters, nice direction. It has everything. I must say that I think John Huston is one of the greatest American filmmakers, yet nobody ever seems to mention him.
One of Bogie's best, but it's Edward G.'s movie....
Key Largo would be the perfect film for someone who had never seen or heard

of either Humphrey Bogart or Edward G. Robinson to get a primer lesson on the charisma and screen presence of both of these great screen legends.

The premise of the film is as follows: Bogart's character, Frank McCloud, is an ex-GI returning from World War II . McCloud is anxious to meet the wife and

father of his fallen soldier friend. This leads McCloud to a hotel in the Florida Keys run by the widow, Nora Temple (Lauren Bacall) and her father-in-law

James Temple (the always excellent Lionel Barrymore, perhaps most familiar to moviegoers as the evil Mr. Potter in Frank Capra's 'It's A Wonderful Life').

Things seem slightly off-kilter from the moment McCloud (Bogie) walks into the hotel. An alcoholic woman, loud and obnoxious, crowds the hotel bar and is

handled roughly by a couple of strange men who apparently are guests at the

same hotel. McCloud takes this all in but remains distant from all of these

characters. McCloud meets the invalid owner Mr. Temple (Barrymore) and his

daughter-in-law Nora Temple (Bacall). There is some immediate chemistry

between McCloud and the widow Temple.

Unbeknowst to both the Temples and McCloud two huge problems are looming

in their immediate futures shortly after their initial meeting. First, a hurricane of tremendous force is poised to strike the Keys and their hotel in a matter of hours. Secondly, and what drives the plot of this film, a supposedly deported big-time gangster, Johnny Rocco (Edward G. Robinson) is the guest who makes his

identity and motives known shortly before the hurricane arrives.

The previously mentioned alcoholic woman at the bar is Gaye Dawn (Claire

Trevor), Rocco's girlfriend. An ex-nightclub singer whom time has not been kind to, Miss Dawn sacrifices her dignity at even the slightest opportunity to get a drink.

The strange men at the bar turn out to be Rocco's henchmen.

McCloud (Bogart) knows who Rocco (Robinson) is, and while he won't directly

challenge the gangster, McCloud takes no small delight in playing mind games

on Rocco.

The scenes in the hotel between all of these diverse characters really are the highlight of this film. Even though Rocco and his gang are holding McCloud and the Temples hostage you get the definite impression that McCloud has the

upper hand psychologically and that things will eventually go bad for Rocco.

Bogart is fantastic. His nuanced portrayal of a basically decent non-committal drifter fits hand in glove with Bogart's reluctant hero screen persona. This is Edward G. Robinson's movie though. His performance as ruthless but paranoid

mobster Johnny Rocco is one of, if not his very best screen role. Claire Trevor is great as tragic moll Gaye Dawn. Trevor won an Oscar for Best Supporting

Actress for her acting in this film. Lauren Bacall is good but really doesn't have to do much heavy lifting, acting wise in this film. Lionel Barrymore is great, a crusty old curmudgeon with a huge heart for those he cares for.

This is a great movie and a wonderful opportunity to see some screen legends

at the top of their respective games.
under-appreciated classic
Key Largo is an absolutely brilliant film. Cast and screenplay are both superb. Bogart and Bacall have an intense personal chemistry that sparks on screen, and the supporting cast of Barrymore and E. G. Robinson give their best performances ever. Robinson, in particular, as the slimy gangster johnny rocco is great - his portrayal of the 'banality of evil' is the best I've ever seen.

The screenplay is magnificent. Not just the dialog, but also the balance of characters is perfect. For each good character there is a bad one of equal weight, forming a perfectly complementary totality, a yin/yang balance that teeters between triumph and disaster according to the finest shades of personal choice. It's an examination of freedom, of corruption, of courage and betrayal - a perfect encapsulation of the world, focused upon a hotel on a tiny island in the middle of a hurricane.

This movie deserves more recognition than it gets. The action is understated but intense, densely-packed with meaning and significance, at both the individual and cultural level. Watch this movie with new eyes!
Robinsons Vehicle

Although the Bogie and Bacall pairing is the main attraction here, the movie only really lifts when Robinson enters the story, taking a bath with a cigar stuck between his lips. His portrayal of the small-minded, greedy crook with a panache for cruelty towards friends and former lovers is formidable, and comical for all the wrong reasons. His is a character who lives in the shadow of his own former greatness as a gangster kingpin, surrounded by a posse of yes-men and psychopaths, and, suffice it to say, adversity and "wise guys" are dealt with with no small amount of cowardice and brutality. This is one of Robinsons finest moments, compatible with such classics as Little Caesar, The Stranger, and Double Indemnity.

Three screen legends: Humphrey Bogart, Edward G. Robinson, Lauren Bacall
See the screen legends of Humphrey Bogart, Edward G. Robinson and Lauren Bacall in one film, not to mention great Lionel Barrymore and Claire Trevor.

The film is directed like a stage play with basically one set, the hotel on Key Largo, but it's not static or dull in the least.

Robinson's villain gangster Johnny Rocco is one of his most memorable performances and he steals the movie.

Robinson and his "boys" are hold-up in a hotel on Key Largo awaiting the arrival of some business associates when a hurricane hits. The hotel is owned by Barrymore and his daughter Bacall. Bogart is there to give Barrymore some possessions of his son who was killed in the war.

Bogart plays a returning WWII veteran and Bacall is the daughter of the hotel owner Barrymore. The film isn't a love story but you can still tell that Bacall adores Bogie and their chemistry is obvious. Bacall is lighted beautifully to show off her outstanding facial features.

A top rate drama full of crackling dialog and superb performances from everyone.
Excellent film
Excellent B/W film as classic as they get. Man v. man, man v. nature, fantastic acting, casting, music, and direction. Classic Bogie, fed up with death for a cause, finds such an attitude is against his grain. Robinson is a traditional gangster trying to bring the "racket" back to the USA after WW2 but in the long run his stereotypical greed works to his own demise. Claire Trevor plays a lush to the max, and Lauren Bacall does a wonderful job playing a woman of principle and strength. Lionel Barrymore is the tough old man anyone would like, too, a character of principle. Great film!
Florida Storm Takes Place of Neon Lights in Huston's Noir Classic
Humphrey Bogart and John Huston must be considered the artistic equivalent of De Niro-Scorsese. Huston and Bogie made several films together, this being one of their best. But there is another combo that comes to an end in cinema's history: Bogie and Bacall appear on screen for the final time together. It is their finest collaboration. Edward G. Robinson, "Little Caesar" himself, returns to gangster form after years of playing the good guy (Wilder's DOUBLE INDEMNITY, Welles' THE STRANGER) and has one of the more memorable entrances in film villain history. We see him in a tub, smoking, a fan in front of him. He seems to be decaying in a way, but "Johnny Rocco" is still to be reckoned with. This is the Robinson we all love, demented and wise, sinister yet humorous. The Largo Hotel is the setting and a hurricane of drama, heroism, and rain is coming.

Huston stages the film much like the play it is based on, yet we never feel confined. There is enough colorful dialogue to go around. Surprisingly, much of it is not by Bogart, who plays probably his most quiet role, promoting his character through facial gestures more than words. He plays off Robinson and his posse of mobsters perfectly in this way, allowing Edward G. to dominate the majority of the film, which is the point. Lionel Barrymore plays the chair-ridden owner of the Largo and his daughter Bacall is falling in love with Bogart, naturally. They are at the mercy of Rocco and his boys, all of whom have some itchy trigger fingers. Bogart is just buying his time to make his move. The finale is extremely well done and foresees suspense endings to come.

Lauren Bacall is one of the most beautiful actresses to grace the screen, especially in black and white. Her perfect features look sculpted in this light and her sensual stare is enough to make you melt. Her smoky voice and attitude is an excellent match for Bogie's simple, heroic character. Film Noir becomes Florida Noir here, as the lightening outside the windows of the hotel play games with the shadows and atmosphere of events inside. Robinson murders an innocent man with the look of a terrifying ghost, lightening flashing on him and all. The thunder substitutes for the sound of cars and street-life normally heard in classic noir pictures. KEY LARGO is a very good film, dark and suspenseful, in the most pleasant of locales.

RATING: 8 of 10
Superb cast and taut drama
While chiefly remembered as a Bogart/Bacall vehicle, this story of expatriate gangsters commandeering a sleepy tropical hotel is, in actuality, a tightly directed ensemble piece with acting chops to burn.

There's Edward G. Robinson as Johnny Rocco--the brash, boisterous, sleazy gangster whose frailties (cowardice and a yearning for better times) gradually unfold before us. There's Lionel Barrymore as James Temple, the delightfully feisty and crusty hotel owner overcome with revulsion at Rocco's presence. There's Thomas Gomez, Harry Lewis, Dan Seymour and William Haade as Curly, Toots, Angel and Ralphie--Rocco's colorful but hard-edged thugs who are presences unto themselves. There's Claire Trevor as Gaye, Rocco's declining, alcoholic moll who symbolizes more than anything how far Rocco has fallen.

That's an awful lot. Too much scenery-chewing from Bogart or Bacall would push it over the top--and director/screenwriter/demigod John Huston knows it. He coaxes remarkably restrained and subtle performances out of his star couple. The romantic tension between them is suggested but never shoved in the audience's face. Bogart's wandering war vet Frank McCloud keeps his lips tight and plays his cards close to the chest--a streetwise outsider through and through. Bacall's Nora Temple lets her anger and distaste pour out through her smoldering eyes more often than her mouth.

Ultimately, the subtlety is so well-hidden between the gigantic performances of Robinson and Barrymore that you might miss just how sophisticated Frank's story is. Disillusioned and drifting since the war, he stops in to visit the wife (Nora) and father (James) of a fallen comrade whose bravery he admired. Implicit in his visit is an unspoken apology that it is he, and not their loved one, who is returning home. The fallen soldier is a constant unseen presence in the film--his bravery and honor mocking what Frank sees as his own cowardice and inability to stand up to Rocco (Bogart's fast-talking explanation of why he didn't shoot Rocco when he had the chance is classic and rare--a protagonist lying to his friends and his audience--"One Rocco more or less isn't worth dying for!"). Frank's eventual decision to take on Rocco and his hoods is a victory against the fear that plagues and shames him.

In a larger sense, this is a true period movie about a generation of men returning home from the greatest conflict the world has ever known. Most of our national memories of World War II are proud and triumphant, but, as with any war, it left countless people scarred physically and mentally. Though Frank is a decorated soldier, he feels somehow that what he did wasn't enough (because he lived and his friend did not?), and he returns back to a country in which he has no place with no real pride or satisfaction. The confrontation with Rocco affords him a chance (perhaps only possible in Hollywood or on the stage, where the story of "Key Largo" was first performed) to make things right with his world.

While it has not aged as well as the better-known films of Bogart's and Huston's careers, "Key Largo" is a film that, for a little investment of attention and thought, will pay big dividends to anyone that really and truly loves movies.
A remarkable cast at their finest under director John Huston
This film has it all. A reluctant war hero, just wanting to get on with his life, an arch mobster planning on making a big comeback, the family of the hero's closest friend during the war, an out of the way hotel, and to top it off a hurricane. What more could you ask for. Edward G. Robinson is at his very best as the villain Johnny Rocco, a cross between real life mobsters Lucky Luciano and Al Capone. Bogart and Bacall again light up the screen under their fourth (and reluctantly final) on screen pairing. If you watch closely, you can be amused at Lionel Barrymore having to quote Frankin Roosevelt in the movie while gnashing his teeth.(Barrymore despised Roosevelt in real life) This blank and white thriller keeps you on the edge of your seat from almost the very beginning to the very end, again brilliantly and ably directed by John Huston. Don't miss it.
Stagy? Thank God!
People often criticize this movie for really not being much more than a filmed play. Yeah! So what's wrong with that when the characters are three dimensional and the actors are brilliant. This movie gets dull only when it moves out of the hotel (the stage) and becomes a traditional action movie. The black and white photography is brilliant (I once saw it colorized and it was dreadful). The production design is perfectly honest. The direction is so clear and unpretentious; when you have faces as brilliant as these, you gotta take advantage of closeups. There is not one less than outstanding performance. Bacall's role doesn't call for her to do a lot of "acting" and as a result, she is very moving. Trevor had tough competition for her Oscar that year and she won because she understood that too much restraint would have been wrong yet she never goes too far. Bsrrymore is unusually tough and commanding, almost heroic against the thugs. Bogart is quiet and direct and when he gives Trevor her drink has the most powerful moment in the movie. Robinson? It is a real showy role, and Edward knew what not to do. He is savage. And he almost is sexy when he gets Claire to sing her song but he can revert to a monster within seconds and give the audience chills. It really is his movie. Gomez and his fellow stupid thugs are funny at times but the script is unusually honest and barbaric. Take away their guns and these guys are wimps. But why didn't they just stay in the hotel? The shootout at the end could have been done that way. The escape to Cuba isn't believable or compelling. Those who call this movie slow, just don't get it. They don't understand that artists use pacing for effect. Today's generation loving special effects and action and over-the-top acting will hate this movie. Their loss. And the loss for the future of film and theatre.
See Also
📹 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. 📀