To Have and Have Not (1945)
Directed by Howard Hawks
A Martinique charter boat skipper gets mixed up with the underground French resistance operatives during WWII.
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What critics compared To Have and Have Not to
You could make a season of films like that, and it would have to include Griffith and Lillian Gish (Broken Blossoms); von Sternberg and Marlene Dietrich (Morocco, The Devil is a Woman); Antonioni and Monica Vitti (L’Avventura); Hawks and Lauren Bacall (To Have and Have Not); Capra and Barbara Stanwyck (The Miracle Woman, The Bitter Tea of General Yen); Godard and Anna Karina (Vivre Sa Vie, Pierrot le Fou); Ingmar Bergman and nearly every actress he worked with (Persona, Cries and Whispers, Summer with Monika); Hitchcock and Grace Kelly (Rear Window), and Hitchcock and Tippi Hedren (The Birds, Marnie); and Truffaut and Jeanne Moreau (Jules and Jim) and Truffaut and Catherine Deneuve (Mississippi Mermaid).
A scene loaded with double entendres in which George Clooney and Vera Farmiga discuss Clooney’s impressive frequent-flier mileage is intended to evoke the risqué flirtations between Humphrey Bogart and Lauren Bacall in “To Have and Have Not” and “The Big Sleep.”
This is hardly Hoagy Carmichael in To Have and Have Not .
The depictions of the torture and execution of members of one religious group bring to mind the Holocaust; the character of Inoue, with his unctuous justifications of his murderous reign, suggests generations of dapperly ironic and intellectual screen Nazis, and, for that matter, the sardonic and nasal pomposity of Ogata’s performance makes for a perfect replica of a classic Nazi movie villain—it closely resembles both Dan Seymour’s, as a Vichy official, in Howard Hawks’s “To Have and Have Not,” and Christoph Waltz’s, as an S.S. officer, in Quentin Tarantino’s “Inglourious Basterds.”
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Said Batman: "There's nothing worse than being recognized so I have cleverly disguised my voice as Lauren Bacall, thus explaining why some Gotham residents claim to have seen me in To Have and Have Not.
Ernest Hemingway’s 1937 novel To Have and Have Not had already been made into an excellent 1944 feature directed by Howard Hawks and offering the immortal first pairing of Humphrey Bogart and Lauren Bacall (“You know how to whistle, don’t you, Steve?
Seberg quotes from Faulkner ("between grief and nothing, I will take grief") and hangs a poster of a Renoir painting-but we should remember that Faulkner was a screenwriter ( To Have and Have Not and The Big Sleep) and Renoir's son was the great Jean Renoir.
For American audiences it takes a certain kind of masculine confidence to counterbalance it (like Bogart's in Casablanca and To Have and Have Not, for instance, or Bruce Willis's more recently).
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He loved to use again what had worked for him earlier; when Dickinson asks Wayne to kiss her a second time, because "it’s even better when two people do it," there’s an echo of Bacall in "To Have and Have Not," telling Bogart, "It’s even better when you help."
This reworking of Ernest Hemingway's novel (with a script co-written by William Faulkner and Rio Bravo's Jules Furthman) marked the first of four screen teamings of Humphrey Bogart and Lauren Bacall, although it's the last to finally be brought to Blu-ray by Warner Bros. As with most things Bogie, it was worth the wait: Second only to The Big Sleep (reviewed here ) as the best of the love birds' quartet of films together (the others were Dark Passage, reviewed here , and Key Largo, reviewed here ), it's yet another gem from Howard Hawks, still the most underrated of all great American directors.
Hawks originally finished the film in 1945, but Charles Feldman, Hawks' partner and Bacall's agent, sent a savvy memo to studio chief Jack Warner urging him to make changes that would give the audience more of the Bacall seen in her first film, Hawks' popular "To Have and Have Not," rather than the badly reviewed Bacall of her next film, "Confidential Agent."
After seeing the film, he ordered additional scenes shot featuring Bacall and Bogart, to recapture some of the fireworks the two had sparked in Bacall�s 1944 screen debut, "To Have and Have Not."
Not to mention that the studio pressured director Howard Hawks into adding new scenes that would emphasize the relationship between gumshoe Philip Marlowe (Humphrey Bogart) and Vivian Sternwood Rutledge (Lauren Bacall), based on the heat those stars had generated in their previous film, To Have and Have Not .
While biographer Todd McCarthy refers to the two versions of Howard Hawks' The Big Sleep as marking the delineation point separating linear (early) Hawks from non-linear (later) Hawks, I feel like you can mark the director's affection for bonzo non-sequiturs throughout his sultry To Have and Have Not.
After signing Bogart and Bacall as the leads, Hawks hired his To Have and Have Not writers, William Faulkner and Jules Furthman to adapt Chandler's novel, giving them strict instructions to retain as much of the original dialogue as possible (the third credited screenwriter, Leigh Brackett, had written a previous, unused draft).
The elder, more responsible daughter (Lauren Bacall in her second film with Bogey, after To Have and Have Not) is clearly trying to protect her sister and father, and isn’t sure whether Marlowe is part of the problem or part of the solution.
Merely putting Lauren Bacall, sophisticated siren of Hawks’s To Have and Have Not and The Big Sleep, in the same frame with Harriet Andersson, the emblem of spiritual and mental corrosion in Bergman’s Through a Glass Darkly and Cries and Whispers, is to set off a chain of associations that form another deep layer of subtext in an already awesomely multileveled work.