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Familiarity can sometimes numb us to how very unique a movie is, and that is certainly the case with THE AFRICAN QUEEN. Most polls that have been done in current years typically denote Humphrey Bogart as the greatest movie star of all time, and frequently Katherine Hepburn gets the number two slot (and always gets the number one slot for women) . Yet, these roles are almost antithetical to everything else they ever did. Bogart, the gargantuan man of action of CASABLANCA and THE MALTESE FALCON and THE Large SLEEP, is reduced to a dirty, disheveled, lewd, drunken captain of a remarkably inconsequential boat with the profoundly self-mocking name of “The African Queen.” Hepburn, who has made her career playing unbridled, liberated, and self-assertive recent women, here is a prudish (though only for a while), repressed, tightly hurt spinster. But despite this highly original pairing, the film was one of the finest that either was ever in, netting Bogart his only Oscar (and unbelievably, only one of three nominations) and Hepburn what was something like her 200th Oscar nomination. It seems perverse that the only other two nominations were for Best Director (Huston) and screenplay (the large James Agee and Huston) . I’m not distinct how a film can regain nominations for four of the top five awards and not fetch nominated for Best Relate, but it did (the five films nominated that year were the deserving AN AMERICAN IN PARIS [the winner], the somewhat censored A STREET CAR NAMED DESIRE, A Spot IN THE SUN [which has not old well], and the considerably less deserving QUO VADIS and DECISION BEFORE DAWN) .
Today we assume filming on site for granted, but in the 1940s and 1950s, few producers and directors opted for filming on the station upon which the film was supposed to seize region. Films might go to a well-known locale and shoot a couple of scenes for realistic flavoring, as with a couple of scenes in ON THE TOWN or AN AMERICAN IN PARIS. Many Westerns had been shot on dwelling, but that was no substantial challenge given the conclude proximity of Hollywood to Western locales. John Huston had previously filmed THE Cherish OF SIERRA MADRE in Mexico, but going to the Congo and Uganda for extensive filming had rarely been attempted (sorry, all those Tarzan movies were filmed in California) . It was a spectacular undertaking (which Katherine Hepburn recorded in a book she wrote about making THE AFRICAN QUEEN) .
There is a war dwelling that provides the setting for the film, but to be unprejudiced it really isn’t very distinguished. What is crucial is the great dynamics between Bogart and Hepburn, as they go from loathing one another, to liking, and then to loving. It has to be the most unlikely appreciate sage in the history of film, and yet somehow these two gigantic actors not only manage to sell it, but build it quietly majestic. There is not great in the intention of cast to sing of, apart from the two leads. Robert Morley manages a puny but memorable fraction approach the beginning of the film, but Bogart and Hepburn utterly dominate the film’s onscreen time. Luckily, they have no pain pulling it off.
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As unusual as this film was, there had been attempts to do it into a film for quite some time. If one is familiar with Bette Davis’s career, there had been a couple of attempts to film it with her in the lead with various leading men (including James Mason) . But surely Katherine Hepburn is the perfect Rose Sayer. Like in THE PHILADELPHIA Record, she can communicate self-righteousness better than anyone. Davis would only have managed egotistical haughtiness. But I’m determined everyone would agree that the casting ended up being for the best.
Bogart and Hepburn play two diametrically opposed personalities in this classic film location during World War I. She is a prim and generous, middle-aged English missionary. He is a gin-soaked river rat living by trading up and down the Congo River from a ramshackle conventional steamboat named The African Queen. They are thrown together by a German offensive that leaves them isolated and in inconvenience of being captured and held as prisoners of war (or worse, they could be shot as spies) . To sprint, they must recede down the river past the Germans. What follows is fraction comedy, allotment tense drama, and piece high adventure. The river and its wildlife pose as remarkable of an obstacle as the Germans, and Bogart and Hepburn must not only learn to secure along, but to trust in, and rely on, each other to survive.
This is a unbelievable movie. The acting is wonderful (Bogie got an Oscar for “Best Actor”), the tale is fine, and the scenery is fine (it was shot on spot) . They honest don’t fabricate build them any better than this, and I can’t imagine any reason why anyone would NOT want this in their collection. Very highly recommended.
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