Abstract
The paper discusses how great heroes are motivated by a higher calling, by the desire to do good in the face of evil and despair, while anti-heroes are propelled from one action to another by their selfish, primordial urges. However, the paper shows how while anti-heroes and villains are driven by the same things, the villain becomes heroic when we see the psychological turmoil and processes through which they become malignant. The paper argues that Fred C. Dobbs, Humphrey Bogart's character in the "Treasure of the Sierra Madre", is an anti-hero while Charlie is a hero. Additionally, the paper looks at how the 1951 film, "The African Queen", fits in nicely with the traditional heroic narrative.

From the Paper
"Great heroes are motivated by a higher calling, by the desire to do good in the face of evil and despair. By comparison, anti-heroes are propelled from one action to another by their selfish, primordial urges. However, while anti-heroes and villains are driven by the same things, the villain becomes heroic when we see the psychological turmoil and processes through which they become malignant (Bonnet, 1). With that in mind, the following paper will argue that Fred C. Dobbs, Humphrey Bogart's character in the "Treasure of the Sierra Madre", is an anti-hero while Charlie is a hero."

Tags:bogart, hero, convention

From the Paper
"Dark Passage (1946) is a David Goodis novel that was serialized in the Saturday Evening Post, and then sold to Warner Bros. for the film that Delmer Daves directed, even before it appeared in hardback. It is interesting to compare the film "Dark Passage" (1947) with the Goodis book, because the director had to make a number of cinematic changes in order to get at the essence of the novel's prose and technique.


Goodis writes his novel in the third person, and his clipped sentences make it a perfect vehicle for a film noir: "It was a tough break. Parry was innocent. On top of that he was a decent sort of guy who never bothered people and wanted to lead a quiet life." (Goodis 7)


In the film Bogart plays Vincent Parry, who escapes from San Quentin in order to prove his innocence in the murder of his..."

Abstract
This paper examines film noir, which is a French term that describes films which feature a dark and degenerate urban environment, and which often feature a hard-boiled private eye in the Humphrey Bogart mold. The paper shows that Bogart's portrayals of Sam Spade in "The Maltese Falcon" and Marlowe in "The Big Sleep" established him as the personification of Hollywood private eyes, and Jack Nicholson's portrayal of private eye Jake Gittes in "Chinatown" was greatly influenced by Humphrey Bogart's legendary performances in these earlier examples of film noir.

From the Paper
"Film noir is a French term that describes films which feature a dark and degenerate urban environment and which often feature a hard-boiled private eye in the Humphrey Bogart mold. Bogart's portrayals of Sam Spade in The Maltese Falcon and Marlowe in The Big Sleep established him as the personification of Hollywood private eyes, and Jack Nicholson's portrayal of private eye Jake Gittes in Chinatown was greatly influenced by Humphrey Bogart's legendary performances in these earlier examples of film noir. In City of Quartz, Mike Davis mentions the film Chinatown several times and refers to it in reference to a, "famous water conspiracy." He also refers to Chinatown when analyzing the persistence of film noir's popularity, "through the 1950's to emerge in a new wave."

Tags:film, noir, issues

Abstract
In this paper, the writer examines the nature of plot, narrative, editing, and characterization in the film: 'The Big Sleep' (1946) by Howard Hawks. The writer discusses that by creating a plot that verges on the brink of chaos, Hawks directs Bogart and Bacall in their traditional film noir roles, which ultimately rely upon their acting and characterization as catalysts for the mystery and intrigue through murder. The writer further points out that by understanding the narrative of these two characters, the plot seems to take a secondary apparatus to the romance involved between these two actors.

From the Paper
"This film study will present the aesthetics that pertain the film noir genre when deciphering the complex plot of The Big Sleep (1946) by director Howard Hawks. By understanding the aspects of editing (flashbacks), acting and the plot structure of the film in relation to Hawks' visuals, this film offers a classic representation of the `noir' genre. Also, this study will present the various aspects of dialogue, which provide the slapstick narratives and dry characterizations that define 'The Big Sleep' as a classic in depicting the criminal world of detective Philip Marlowe."

Tags:hawks, noir, film

Abstract
This paper interprets the main theme of Michael Curtiz' film "Casablanca" as being the need to sacrifice personal interests in the name of achieving a greater good. The analysis uses four specific scenes in the film between Rick (Humphrey Bogart) and Ilsa (Ingrid Bergman) to reinforce this point, focusing on how cinematography, sound, mise-en-scene and editing help reinforce the main theme.

From the Paper
"The beloved film "Casablanca" is a love story set against encroaching war and fascism. Featuring a cast of ex-patriots in a movie about the dangers of fascism, the genuine emotions of the multinational cast significantly enhances the appeal of the film. With some of the most famous and beloved lines of dialogue in cinema history, like "Here's looking at you kid" and Max Steiner's superb score, the film's different elements combine in ways that make Casablanca on every critic's top ten films list."

Tags:Nazis, love, relationships, totalitarianism, fascism, cause, isolationist, self-sacrifice, war

Abstract
It may seem at first as though John Huston's film "The Maltese Falcon" (1941) is a detective story about the search for the title object; a story with a fatalistic ending in which the object is found to be a fake. The paper shows, however, that the search for the falcon is not nearly as important as the search for the killer of Miles Archer (Jerome Cowan) and the story is, in fact, a triumphant account of Sam Spade's (Humphrey Bogart) defense of his masculinity, and of American masculinity in general, against those who would destroy, distort, question, or undermine it.

From the Paper
"The third group is the trio of homosexuals involved in the search for the falcon: the effeminate Joel Cairo (Peter Lorre), the erudite and frightening Kasper Gutman (Sydney Greenstreet), and his "gunsel" Wilmer Cook (Elisha Cook, Jr.). Arranged like a bizarre version of a family, this trio represents the various ways in which someone can be male but still fail to meet the requirements of the masculine code Spade adheres to. The fourth group is the trio of law enforcement officials: Detective Tom Polhaus (Ward Bond), Detective Lieutenant Dundy (Barton MacLane), and District Attorney Bryan (John Hamilton) who questions Spade in an 'informal' hearing. They function as official representatives of society and of the world of normal, acceptably masculine men who, throughout the film, question Spade's actions and motives."

Tags:Dashiell, Hammet, Brigid, O'Shaughnessey, Iva, Archer

Abstract
It may seem at first as though John Huston's film The Maltese Falcon (1941) is a detective story about the search for the title object; a story with a fatalistic ending in which the object is found to be a fake. But the search for the falcon is not nearly as important as the search for the killer of Miles Archer (Jerome Cowan) and the story is, in fact, a triumphant account of Sam Spade's (Humphrey Bogart) defense of his masculinity, and of American masculinity in general, against those who would destroy, distort, question, or undermine it.

From the Paper
"It may seem at first as though John Huston's film The Maltese Falcon (1941) is a detective story about the search for the title object; a story with a fatalistic ending in which the object is found to be a fake. But the search for the falcon is not nearly as important as the search for the killer of Miles Archer (Jerome Cowan) and the story is, in fact, a triumphant account of Sam Spade's (Humphrey Bogart) defense of his masculinity, and of American masculinity in general, against those who would destroy, distort, question, or undermine it. The elaborate structure of the film places Spade at the center of a number of forces over which he must, in one way or another, exert his authority and control. Each of the three members of the four groups that surround him threatens or questions his masculinity in some fashion. By acting shrewdly, intelligently, fearlessly..."

Abstract
This paper compares and contrasts classical Hollywood films with Italian art cinema. It explores the characteristics and elements of each. The paper provides examples from "Casablanca," "The Bicycle Thief," "A Fistful of Dollars" and "Last Tango in Paris." The author discusses the Hollywood star system and principles of Neo-Realism.

Tags:Hollywood, Films, Cinema, Narrative, Neo-Realism, Leone, Eastwood, Bogart, Westerns, Italian

Abstract
This paper describes in-depth the life of Audrey Hepburn, the infamous Dutch Hollywood actress. The paper begins with her as a girl, born into Dutch Royalty, she suffered from hunger and poverty in Nazi occupied Holland. The paper provides chronological summaries of her role in all her films and plays, which provides the reader with a great sense of her enormous contribution to popular culture. It includes details of her personal life and her work as a special Goodwill Ambassador to the United Nations Children's Fund (UNICEF).

From the Paper
"Gigi was Audrey's ticket to America. At the show's premiere in New York, Audrey was surprisingly visited by James Hanson, who had come to formalize their engagement (Paris 74). The run of Gigi was over by the spring of 1952. However, Audrey's career was about to take an even greater step forward. Paramount Pictures was searching for a young girl to play the role of Princess Anne in Willy Wyler's Roman Holiday (1953). Audrey was about to costar with Gregory Peck in her first American film. However, the film had forced her to postpone her wedding date. In fact, as soon as she got the part, the studios had advised her not to get married in the belief that millions of lovestruck fans would be disappointed (Paris 80). Audrey was soon convinced that she was not ready to be married, and she broke off her engagement to James Hanson."

Tags:dutch, goodwill, ambassador, united, nations, children?s, fund, unicef, bloodline, robin, marian, sean, connery, laughter, in, paradise, gigi, roman, holiday, gregory, peck, sabrina, humphrey, bogart

Abstract
The paper examines the popular classic film "Casablanca" and the mystery and romance of the World War II era. It demonstrates that by analyzing the characters and the plot, the viewers receive a quick lesson on World War II. The author writes that the film is not only historically accurate, but also reveals our loyalties during that time.

From the Paper
"The classic movie "Casablanca" was recently named number two on the American Film Institute's "Top 100 American Films of All Time." It rightly deserves that acclaim, as it is a story of people caught up in a difficult era and, through carefully created characters, preserves the history of that time. The lure of Casablanca lives in the mystery, romance, and intrigue that moviegoers of the era desired and needed to escape the reality of World War II."

Tags:bergman, bogart, claude, conrad, henreid, humphrey, movies, romantic, wwii