HUMPHREY BOGART AND LAUREN BACALL
"Here's looking at you, kid." "You can't start worrying about what's going to happen. You get spastic enough worrying about what's happening now." "I think your whole life shows in your face and you should be proud of that." "Some people try to turn back their odometers. Not me. I want people to know why I look like this. I have traveled a long way. And some of the roads were not paved." (unnamed source)
"I don't mind if you don't like my manners. I don't like them myself. They're pretty bad. I grieve over them on long winter evenings." "I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me." "It doesn't take much to see that the problems of three little people doesn't add up to a hill of beans in this crazy world."
"It's been misspelt a lot. He decided on it. It's not Bog-ey. He signed with an ie. And that's good enough for me." (on Humphrey Bogart)
What if...?
Betty Perske, a.k.a. Ms. Lauren Bacall, a.k.a. 'The Look', a.k.a. 'Baby' (although I imagine only one person ever 'got away' with calling her that!). I've never heard her referred to as Lauren Bogart...but yet, the names are linked forever. Bogart & Bacall, Bogie & Bacall, Bogie & his Baby. I've read where Ms. Lauren Bacall has seemed to appear queenly and unapproachable; that she casts an aura of self-sufficiency and control, but that's obviously not how she sees herself. Her green eyes still dance with intelligence and wit they say, but I also read that the 'Grande Dame of the Dakota' (the gothic Manhattan apartment building where she resides) insists that she is timid, even fearful in nature, and that her legendary caustic wit is merely a defense mechanism, yet people somehow still have the idea that she is some kind of dragon lady. "Self-assured? I'm afraid I don't have it. I know I am not the characters I've played, but I can't help what people think. I know that a lot of it has to do with the depth of my voice. And I suppose some of it has to do with the fact that I've built up a certain veneer, so I can deal with people and life on my own, which is what I have been doing for many, many years. I think you just get stronger doing that. As you can see, I'm not (a Dragon Lady, etc.)," she says. "I'm more like a nervous wreck. I have been since childhood. I don't know where people get the notion that I'm imperious. I've seen some very quiet women who are killers. I don't know if it's my deep voice that gives the impression that I'm constantly in control -- baloney. If you look at the 'You know how to whistle, don't you?' scene -- I'm holding a cigarette and it's shaking like a leaf. I was 19 then. I'm a little better now." I agree that she remains a mischievous, witty conversationalist and still carries a trace of her original onscreen style of 'haughtiness'...and I also agree that she bluntly talks about the vunerability that's always been her close companion.
"'There are lots of kinds of loneliness,' she says. 'There are things you had and don't have any more, and you miss them. But I look at a lot of my friends' marriages and I don't envy any of them. I like my freedom. I do miss the companionship, the ability to share things with someone. Share the good things, I mean. There's always someone around when something rotten happens. I had it great at the beginning. Listen, you play the cards you're dealt. When you don't have a choice, you don't whine about it.'" When asked about what she's written and said about how happy she was with Bogart and how difficult it was for her after his death, "Well, it's been hyped so much. But, of course, it was a great love story. Listen, I lucked out at a very young age; it's been downhill ever since. What can I say? Then again, I had what some people never have, so I can't complain."
Hollywood has changed considerably since Bacall told Bogart after a half-hearted kiss, "It's even better when you help." From the days over 50 years ago in To Have and Have Not, her film debut where she taught us how to whistle ("Just put your lips together and blow..."), co-starring with Bogart in three other films (The Big Sleep, Dark Passage and Key Largo) & she made eight other films without him before his death in 1957...she has acted in films from then to today such as How to Marry a Millionaire, Designing Women, The Shootist, The Mirror Has Two Faces, My Fellow Americans, Diamonds...on the stage she starred on Broadway in such productions as Cactus Flower in 1967, Applause! in 1970 for which she won a Tony and Woman of the Year in 1981 (another Tony). Nominated for an Oscar in 1996 for Barbra Streisand�s movie, The Mirror has Two faces, but surprisingly not getting it, she says, "They tried to convince me. Everybody was so sure. And obviously, everybody was wrong! I don�t necessarily agree with the choice, but you know... that�s the business. First of all, it�s over blown. There are too many awards and they become meaningless. You get this one, but you don�t get that one. The year of the Oscars I won every other award and I was very happy to win awards. I�ve never been awarded much in film. So to get the Golden Globe and the Screen Actors Guild, which is of course my peers, and then the Oscar and being nominated � I was happy to be nominated. I had never been nominated before. I just think the whole thing is so much publicity and so much PR... I can�t bear it. The rest of your life is what makes up this country and this world. It�s the legacy that�s left behind for future generations."
Yet it was stated that she thrives. "Depends what you mean by thrive," she responded. "My career is so cockeyed. It's been up and down-a lot of down years and a few up years. If you don't keep the ball rolling, you're very quickly forgotten. And if it's a small part, what's wrong with that? What else can I do? It's a great feeling to still be a part of it all." And she has been, time after time. Ms. Bacall however time & time again shows that what she values is the 'craft', and moreso her private, family life. She and Bogart had a son, Stephen, and a daughter, Leslie; she had another son, Sam, who is also an actor like his father, Jason Robards. Bacall has written two autobiographies, By Myself and Then & Now. Besides her obvious eternal love for her children, she states "The best time of my life was the 15 years Bogie and I were married. When he died, all of my roots were pulled out and my whole life changed. People thought I was just a wife. My career was not brilliant for quite a few years." After Bacall swept Bogart off his feet in 1944, rescuing him from an already broken third marriage, she gave up her prospects for a major independent career. She recalled, "Bogie told me, 'If you want a career more than anything, I won't marry you. I've had experience with that. You can't do both.' He didn't tell me not to work. He wanted me to go on location with him and not go on location away from him. I did what he said, and I'm damn glad I did. I could have had a bigger career, but if all you're after is a career, your marriage has to suffer." "He (Bogart) took such pride in his work because he was a very late bloomer." Bacall summarizes her career dryly, "I bloomed very early and the blossom faded, and I'm trying to bloom again. My career has been so erratic, but I feel good about it again now." As Betty Joan Perske she took singing and dancing classes, worked as an usherette before modeling, & then her Harper's Bazaar cover pose attracted producer-director Howard Hawks, who signed her to a Hollywood contract and matched her with Bogart. On The Look: She has quipped, "I used to tremble from nerves so badly that the only way I could hold my head steady was to lower my chin practically to my chest and look up at Bogie. That was the beginning of The Look." She explained another time, "It began because Howard Hawks, who had discovered me and to whom I was under contract and who directed To Have and Have Not and The Big Sleep wanted to me to have this look where I had my chin down and my eyes up, which of course is not so attractive now at my age, but then it worked well. The lighting was always in the shadows, black and white, Venetian blinds. He was brilliant about all that. Suddenly the press called it �the Look�. Obviously, I didn't know what I was doing. He (Hawks) Svengali-ed me and created me out of this terrified creature who had just arrived from the Big Apple. He was a great moviemaker, had tremendous variety in his career. But he had always wanted to create a star out of an unknown, and he succeeded with me. He showed me many things. He always told me about the other actresses he had worked with, how he showed them the way and how he always won. He had a big quirk thing about actresses -- he really wanted to mold a young woman. And he did it. Then Bogart stepped in and ruined everything." Bacall said Bogart's best advice to her was, "He taught me not to believe what you read about yourself in the papers, because the studios planted it. And that was true, so I never paid much attention to it. Look, I was a baby--I didn't know a lot. Whatever he said, I said, 'Yeah, okay, you're right.' I just believed everything, and fortunately he was an honest man. I mean, if he hadn't been, can you imagine?"

As for her spectacular debut,  "
As great a break as it was, it was also a curse. The reviews I got, nobody gets. I was the new Garbo, the new Dietrich." "'The Mirror Has Two Faces criticizes the Hollywood definition of feminine beauty. There are even photos of you from the glamour days in your character's apartment, and in a key moment, you wistfully recall how great it was to be beautiful. As someone who was a manufactured sex symbol yourself, what are your views on that?' "'To begin with, I never thought I was beautiful. Sorry, guys. I wish I thought I was divine. Listen, I would've been a much happier person had I been able to look in the mirror and say, 'Gee, you are great! Love your looks!' Oh, come on.'" "'You were called The Look. You were the one who said, "Put your lips together and blow." You projected a seductive image women everywhere tried to copy.'" "' Well, I'll go along with that. But beautiful, no. In movies, when somebody new comes along, plays a part and it happens to click, there is a tremendous exaggeration about what you are, what you have, what this sudden new person is. In my case, I was announced as the Second Coming. I was this combination of Garbo and Dietrich and Bette Davis and Mae West all rolled into one--and that was just in one movie. Now, you know damn well there was no way I was any of that. Then came the second movie, Confidential Agent. It was a disaster, and I was a disaster, and they said, 'Oh, we made a terrible mistake.'" "'Stop it! Who could live up to that? I was a gigantic name before I'd done anything. I was on every magazine cover after I'd made one picture. That's hard to handle. Believing your own publicity is a terrible danger. If I hadn't been brought up right by a very solid mother and been married to such a sane human being, I could have gone off the deep end very easily. My values were very straight and I was not in doubt about them."

When she was asked about the myriad of stories and rumors about how she & Bogart met regarding a 'game of cat & mouse', "
That�s your fantasy. I think we just hit it off. We had the same sense of humor. He was a very witty man, a very intelligent man. We just had fun, and the fun developed into other things. It always remained fun. Life without laughter is not life to me. You must be able to laugh always and under the direst conditions. Laughter. You�ve just got to find a way to dig it up, because without humour, I just don�t know whether I could bear it. He was surprising... which was the great thing about him. I expected before I knew him that he would be one of those �deez, dem and doze� guys. He turned out to be a well-educated, highly intelligent, very funny, very sensitive, sentimental man. I never could predict what his behaviour would be, which of course is something I find wildly appealing. You don�t want to predict anything about anybody you�re with all the time. He was very protective of me and taught me a lot. He was so much older than I and he was so attractive. I didn�t realise at the time how many women were after him. They thought he was a sexpot, which in a way, he was. But he was my sexpot. Not anybody else�s. He was an extraordinary man, an unusual man. He died much too young. He had lived pretty hard. He grew up in the twenties and those were the days of bathtub gin, so he drank a lot; he smoked a lot and he lived a lot. And he paid for that unfortunately. He was the love of my life...I have to say...he was. And though I have been in love once or twice since then � nothing�s ever the same. I�m not the same. We met each other at the perfect time for both of us. It was the greatest thing on earth that could have happened to me at such a young age, my god! This safe, great place to be. I felt very safe with him and yet he really could not stand to be taken for granted, oh no." When Bacall was further quizzed on whether there are any present-day couples like 'Bogey and Bacall', she responded with, �Tom and Jerry... I don�t know. All I know is that it seems that it will never go away. No matter what you do or what you say. I say, �Listen, that was a long time ago.� But there�s something about the combination that�s really connected with people and I�m flattered. There�s nothing you can do to change it. In a way I find it a bit difficult because after all, I was married to Jason and we do have a fabulous son, and I don�t want that to be lost. So I sometimes find it a little awkward. That is the tremendous influence that film has on people. Of course, no other medium has that.You transfer your own feelings onto that film and that film lasts � and I�m into film preservation in a large way � but it lasts as long as the film itself lasts, and people connect with it. I get a lot of fan mail from kids saying, �Oh yeah, Bogey and Bacall. We just loved you in those movies together�. So it�s not to be ignored: that�s what movies can do."

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And life becomes something else. You know Hemingway and TS Eliot, the Oliviers and Judy Garland, Katherine Hepburn and Orson Welles, but you never again find a partner like that movie star. And for the rest of your life, you live the insolent, ironic way you and he evolved." I read that from a BBC interview. Lauren Bacall, with or without 'Bogie'...from sultry silver screen siren to Grand Dame of Stage & Screen...they'll never be another Lady like Ms. Lauren Bacall. I can't but help to think, like my handle, that Bacall was Searching for Key Largo...that legendary supposedly unattainable 'it'...and Bacall found it with Bogart. Like her, I found my own Key Largo, my own 'bogie man'...my greatest strength...and my greatest weakness...and I lost him, too. Life goes on; Love goes on forever.
Still, like her, there are more than enough days where I repeat several things Bacall has been quoted on: "
They're guys who want to screw around all the time, which interests me not at all. God knows we've done that, been there, and we don't want to do that any more." "Find me a man who's interesting enough to have dinner with and I'll be happy." "A woman isn't complete without a man. But where do you find a man - a real man - these days?" "I am not a has-been. I am a will be." "Looking at yourself in a mirror isn't exactly a study of life." BUT "I think your whole life shows in your face and you should be proud of that." "I'm not the public." "Imagination is the highest kite that one can fly."
"As for the future: I'll go on believing there is one--maybe even a happy one. Who's to say there is nothing waiting for me around the corner? A new job, a new relationship, a new home . . . Whatever it may be, one thing is for sure--this adventure is not over."
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