Key Largo (1948)
Directed by John Huston
A hurricane swells outside, but it's nothing compared to the storm within the hotel at Key Largo. There, sadistic mobster Johnny Rocco holes up - and holds at gunpoint hotel owner James Temple, his widowed daughter-in-law Nora, and ex-GI Frank McCloud.
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What critics compared Key Largo to
John Huston’s “Key Largo” is the movie that comes to mind as night falls and the rains come with it.
Stir in Psycho, Rashomon, John Huston's Key Largo, a whiff of Wes Anderson's The Grand Budapest Hotel, and a smidgeon of Huston's Beat the Devil and assorted other what-the-hell buddy pics, notably Rat Pack items such as the original Ocean's 11 or Robin and the 7 Hoods.
Shades of All About Eve (1950) and, on a lesser scale, Key Largo (1948); that�s what I�ve been saying for years now!
He might have been subconsciously influenced by “Key Largo”, another film (actually based on a Broadway play by Maxwell Anderson) that pulled together an ensemble cast to wait out a hurricane in a hotel.
…yes, but the former Video Archives store clerk has absorbed so many that it is not surprising that, though a closer fit, infinitely superior Key Largo is not mentioned.
Even though we’ve seen films go down the same way since “Key Largo,” the final two scenes are exceptional.
They still glamourise their own mobster existence through the lens of film culture (instead of quoting Al Pacino, they watch Humphrey Bogart and Edward G Robinson in 1948’s Key Largo ).
Tony watches Key Largo on TV and quotes the Stones; he rings up “uncle” Dickie to buy beer for him and his pals, including Teen Carmela.
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Daniel Day-Lewis, in the role of oil prospector Daniel Plainview in There Will Be Blood, plays the entire film in the unmistakable voice of Huston, the late filmmaker and actor famed for directing such classics as The Maltese Falcon, Key Largo, The African Queen, and The Night of the Iguana, and for acting in numerous other movies.
Peele takes what is mainly a crime film subgenre (a descendant of gangster-invasion films, like The Petrified Forest and Key Largo ) and hybridizes it with horror by invoking the psychological sources of the genre: Freud’s The Uncanny and The Return of the Repressed.
As a " Key Largo "-size hurricane approaches, Teddy scours the dark corridors and finds clues, hidden meanings and more sidelong glances than you can shake an ice pick at.