This 1941 melodrama is memorable for both its strong central performances and their intimations of how the previous decade's crime dramas would evolve into film noir--no accident, given the solid direction of veteran Raoul Walsh and the hand of screenwriter John Huston, who teamed with the author of its novelistic source, W.R. Burnett (Little Caesar). In the central character of Roy "Mad Dog" Earle, a fictional peer to John Dillinger, Humphrey Bogart finds a defining role that anticipates the underlying fatalism and moral ambiguity visible in the career-making roles soon to follow, including Sam Spade in Huston's directorial debut, The Maltese Falcon.
Earle suggests a prescient variation on the enraged sociopaths that were fixtures of the gangster melodramas that shaped Bogart's early screen image. Pardoned from a long prison stretch, the weary robber is clearly more eager to savor his new freedom than immediately swing back into action. But his early release has been engineered by a mobster who wants Earle to pull off a high-stakes burglary, setting in motion a plot that is a prototype for doomed-heist capers--a small, yet potent subgenre that would later include Huston's The Asphalt Jungle and Stanley Kubrick's The Killing.
What gives High Sierra its power, however, isn't the crime itself but Earle's collision with the younger, brasher confederates picked to help him, and the hard-edged but vulnerable taxi dancer they're competing for, played forcefully by Ida Lupino, who actually received top billing. Her attraction to the reluctant Earle is complicated by a convoluted subplot designed to showcase then starlet Joan Leslie, but the movie finally moves into its most gripping moments when the wounded Earle, pursued by police, flees ever higher toward the mountains. His final, suicidal showdown would become a cliché of sorts in lesser films, but here it provides a wrenching climax sealed by Lupino's vivid final scene. --Sam Sutherland --This text refers to an out of print or unavailable edition of this title.
Produit défectueux ou du moins illisible ici, car on y voit que du gris à l'écran. Read morePublished on April 16 2013 by Jean Malouin
This was the first of the George Raft reject parts that transformed Humphrey Bogart from James Cagney's second banana into...Bogart. Read morePublished on July 9 2004
High Sierra (1941) is considered by most to be Humphrey Bogart's first real, breakout role, playing a part that wasn't initially offered to him. Read morePublished on April 1 2004 by cookieman108
The callous Roy Earl (Humphrey Bogart), a skilled robber, is pardoned and released back into society from being locked up in a prison. Read morePublished on March 11 2004 by Swederunner
One of the old films that when we start watching it, we know how it will turn out-making it sad and a bit predictable, in a funny way. Read morePublished on Dec 12 2003
Bogart fans rejoiced when High Sierra was finally released on DVD. Bogart plays Roy Earle, freed from prison for the sole purpose of getting "that last big score". Read morePublished on Nov. 18 2003 by Keith Garlington
At the close of "High Sierra" Ida Lupino exhibits a look of serenity as she exclaims the word "free! Read morePublished on Jan. 31 2002 by William Hare
The movie starts by showing how a lifer convict can be pardoned to allow him to continue crime in another state, but provides no other details. Read morePublished on Jan. 28 2002 by Acute Observer