Summa This, Summa That
…it’s not a metaphor about a relationship — it’s just a great portrait of one. It understands exactly what movies are for: to show us things we already know, but in a new way. With crocodiles!
Early last month, our very own Simcha (re)published a post entitled “Hooray for the African Queen!,” in which she extolled the virtues of John Huston’s 1951 classic, The African Queen. (Yes, I realize the title should have tipped me off. No, I’m not the quickest horse out of the starting gate.)
Inspired by her post, I hunted down and (re)watched the film, and was reminded of its greatness. It hasn’t aged perfectly — the rear projection really gave me fits, sucking the white-knuckle drama out of the white-water sequences, and the music’s oddly strident at times — but it rises easily above those few (excessively technical) issues. Really great stuff…as you surely know by now, since Simcha already told you about it way back in early June.
If you haven’t yet followed her advice, don’t worry. Your secret’s safe with me…for now. But get on over to NETFLIX INSTANT or AMAZON PRIME or VUDU($) or GOOGLE PLAY($) or ITUNES($) or YOUTUBE($) or RED BOX$) as soon as you can. I’m not sure how long I can hold her off.
Charlie Allnut, the booze-guzzling, rough-hewn captain of a broken-down East African riverboat, teams with a straitlaced, iron-willed missionary to take on a menacing German gunboat during World War I.
CONFESSION TIME: I’m one of those condescending reviewer folks who has always found that the blossoming romance between Bogart and Hepburn bursts forth a bit too quickly and cutely for my tastes. But I’m afraid to say that here, because Simcha gets irritated when people say that. …oh, and I’m also not saying it because it’s simply not true any more, thanks in large part to Simcha’s post. She actually changed my mind. Which, as anyone who has attempted to discuss movies with me in the past will doubtless recognize, is not a common occurrence.
The precipitousness of their newfound love is really the point of the movie: here are two people who have so far only half-lived their lives. If they fall together quickly, it’s because they’ve been waiting so long.
Sold, Simcha! I love that rationale!
In addition to being blissfully untroubled by the speed of Charlie and Rosie’s relationship this time through, I was struck by the subtle way Huston lingers on his stars’ faces. Not surprising, I suppose, given that it’s Bogey and Hepburn. But just watch that scene up above, and notice how much of it is played in reaction shots — the flicker of Hepburn’s eyelids, the embarrassed and self-deprecating grin on Bogey’s face as he braces himself for the next audible faux pas, the sheer incredulity on Morley’s face. (Also, notice that it’s HILARIOUS.)
And that “reaction-as-cinematic-tool” — that appreciation for the (often) subtle emotional response that manifests itself on a person’s face as they speak or listen to another — is a trend throughout the entire film. Bogey’s beats are broader than Hepburn’s (especially early on), which is probably why he brought home the statue (though I find her physicality and screen presence more memorable).
But Huston gives them both ample opportunities to “shine out in a quiet way;” a decision (and act of trust) that pays off in spades. And in a film where we’re stuck in a single location (sort of) for nearly the entire film, those two absolutely must capture our attention.
Speaking of locations, we have arrived at my final point: The boat is awesome. I’m mesmerized by its peeling paint, its cantankerous puff of a steam-engine, its ludicrously-insufficient canvas shelter, and its irritating, endearing little whistle. It’s as vital a character as its passengers, in many ways, and well-deserving the attention that comes from serving as the film’s title.
Best Thing-Character since Serenity, I say.
It’s a great thing to have a lady aboard with clean habits. It sets the man a good example. A man alone, he gets to living like a hog.
BONUS: Here’s Lux Radio Theater’s radio broadcast of the story, featuring Bogart and Greer Garson. Great fun.
DOUBLE BONUS: The recent passing of Golden-Age legend Lauren Bacall sparked this Daily Mail (UK) piece on her visit to the Congo to visit Bogey on the set. Really cool stuff. Especially in this context. Oh, and a similar piece from Time.
Attribution(s): All posters, publicity images, and movie stills are the property of United Artists/MGM and other respective production studios and distributors, and are intended for editorial use only.
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