Bogie and Bacall: Hollywood’s Greatest Romance, Part 3
The happiest time of their lives
This is a continuation of a series detailing Humphrey Bogart and Lauren Bacall’s famous romance. If you have not read part 1, check it out here and part 2 here.
“Back in California, I faced fully for the first time that I was a big girl,” wrote Bacall. Returning from their wedding in Ohio, Bogart and Bacall were now a married couple — free from sneaking around and keeping their love a secret. They sailed the California coast for their honeymoon and bought a house in the Hollywood Hills. Back to work after the wedding festivities, the couple strolled through the backlots of film studios, thanking the many who congratulated them on their marriage. “There didn’t seem to be anyone even slightly against our union,” Bacall remembered. Anxious tendencies eased for the time being.
But, raising a family, working full-time and being together every waking moment did not always provide happy moments. Bogart still had nervous tendencies about being married to another full time actress, especially one with a bright future. It took time for Bogart to realize Bacall, who was so in love with him, did not mind putting a career on hold. Yet, the couple would star in two more movies together and, at the end of each day, conquer any problems the world hurled at them. They argued, bickered just like any couple, but always regretted ever fighting. These were not the fights Bogart remembered from previous marriages: drunk, physical and depressing. The differences Bogart and Bacall quibbled about were always rooted in the fact both had a deep love for the other.
For the rest of their lives, love, family, trust and affection was the basis of their relationship. “I couldn’t go through a whole day without seeing him,” Bacall wrote, “We were a happy, laughing pair.”
Married Life
For the first couple years following their marriage in 1945, their life fell into a joyful routine. They lived comfortably — Bogart was one of Hollywood’s biggest earners — and kept busy with projects and adventures. Once, when there was a week both had time off, Bogart planned a sailing trip to Catalina Island — off the coast of California. The couple cooked food on the boat and enjoyed being out at sea. “I loved playing house, alone,” Bacall remembered, “just the two of us at sea in the moonlight, surrounded by silence, so romantic.” Bogart showed Bacall how to steer the boat and taught her how to combat sea sickness. “Keep your eye on the horizon,” he advised. It was sound advice out on the ocean and for their lives, in general.
Though wildly devoted to one another, the two shared their differences. Bogart liked living modestly, was frugal with money and was comfortable living with his “mother’s old furniture”. Bacall enjoyed spending money, the extravagance of living famously and staying up late. She was in her early 20s, and this was her first time with any freedom and money to spend. Her willingness to spend is understandable, though she never went over her means.
Bacall loved trying new things, seeing new places and meeting new people. Bogart went along with Bacall’s eagerness for life, because Bacall went along with his abscenes on the boat and days where he enjoyed peacefulness at their house. Howard Hawks, who thought the romance was a bad idea at first, recanted on his belief, “She did a lot of good with him… his life was broadened and happier and wasn’t filled with strife.”
Even with the little problems here and there, “the next few years were the happiest of my life,” wrote Bacall of the years following their wedding. “We both changed as our lives together grew closer — we were so close that there was never a notion in anyone’s mind that anything or anyone could come between us,” she continued.
“Dark Passage” and “Key Largo”
By the end of 1946, the couple began filming their third movie together: Dark Passage. (Again, I’ll editorialize here for a second: this is my favorite of the four). Dark Passage tells the story of an escaped convict (Bogart) getting help from a trusting woman (Bacall) while on the lamb to prove his innocence. Bogart was casted immediately, but it took awhile for Bacall to co-star. She was now contracted by Warner Brothers, who mis-casted her in previous films. Bogart suggested Bacall be his opposite in Dark Passage, and the studio could not ignore their chemistry. Bacall was in; the fact the decision wasn’t immediate is puzzling.
Filming took place on location in San Francisco; Bacall’s first time in the city. “We lived at the Mark Hopkins Hotel and spent many evenings at the top of the Mark looking over the entire city and the Golden Gate Bridge,” remembered Bacall. Over the course of filming, the couple had great fun and enjoyed being on set as a married couple. But, by the end of filming, a striking revelation hit Bogart hard: hair began falling off his head. He was ill; anxiety riddled him. He saw a doctor who informed the actor he had alopecia areata — vitamin deficiencies. The health issue could be cared for, but he would need shots, scalp treatments and a better diet.
Dark Passage is noted for its exclusion of its star. Humphrey Bogart is seen on-screen for only about 1/3 of the film. Why? The viewer is given a chance to see through his eyes — a first person view of the main character. We hear his voice narrate thoughts, but Bogart remains out of sight. It was not a new trick, but the camera work was a fairly uncommon one in Hollywood movies. The studio hated it and the movie was pulled from theaters after critics reacted negatively.
But where Bogart is missing, Bacall illuminates the screen. (Dark Passage was the first Bogart/Bacall movie I saw; Within the first 10 minutes, I was instantly hooked by Bacall’s really strong performance). Free from sneaking around, lying and constantly being worries, Bacall is able to relax and enjoy playing a wonderfully fun character. She is Bogart’s protector, his lifeline as he escapes jail. In Dark Passage, there is not much of a seductive quality to her performance/their relationship. Her character is much more sly, witty and fast-thinking for survival purposes — a mindset Bacall nails.
By the end, the couple fall in love. Knowing Bogart’s character can not prove his innocence, they decide to meet up in Peru. Bogart calls her on the phone and the two work out a stealthy plan. “I’m just beginning to realize that it’s good to have something to look forward to,” Bogart’s character tells Bacall’s. Sometimes life creeps into art.
Shortly after Dark Passage, Bogart and Bacall worked on their final film together: Key Largo. Directed by John Huston, Bogart’s friend, the couple worked with their most stacked cast yet: Edward G. Robinson, Lionel Barrymore and Claire Trevor (who won an Oscar for her performance). The story revolves around a hodgepodge of people trapped in a hotel in Key Largo during Hurricane season. It is a fantastic venture that looks at the evils of human nature.
The filming was the “happiest” of the four experiences, Bacall notes. She loved working with Hollywood royalty in Lionel Barrymore and “Eddie” Robinson. Each night on set, Bacall made tea and cookies. Barrymore always worried he was going to miss out. Once everyone was together, Barrymore told stories of acting on stage or Hollywood from long ago. “I listened raptly to all,” Bacall remembered. The feeling among the actors was as if they were a large family, which Bacall appreciated.
For Bogart, Key Largo was a reunion. He had worked with Robinson and Trevor previously. The supporting cast is filled with colorful characters and performances. This time, Bogart and Bacall play the straight roles. A producer on set reminded Huston, “Bogart and Bacall… they should talk in the idiom of normal, every day people.” In the movie, Bacall’s character does not really do much except look worried and eye Bogart. Bogart plays the hero, but his character is quiet — so is the performance.
The couple do not steal scenes like the electric To Have and Have Not. Bogart and Bacall are sort of just… there. Like Dark Passage, the performances are well suited for the movie. Bogart and Bacall are enjoyable to watch together in Key Largo. For Bacall, with each passing film, she became much more comfortable and relaxed in front of the camera — due, in large part, to Bogart’s help and comfort.
In September of 1949, Bogart and Bacall’s son, Stephen, was born. Bogart left for work early the day of the birth, kissing Bacall and wishing her a great day. Bacall made her way into their living room when she started having pains. She called her doctor, and he told her to wait until the pains come every five minutes. Then, call again.
The pains returned. Once they came every five minutes, the doctor and Bacall went to the hospital. Bogart, a nervous wreck, seemed helpless. “Poor Bogie,” Bacall wrote, “He was so worried.” Bogart was with Bacall every step of the way, providing support, taking her hand and trying to remain calm. As it came close for Bacall to give birth, Bogart asked if he could step outside. “He couldn’t bear to see anyone he loved in so much pain,” Bacall remembered. Stephen was a healthy six pound baby. The two were wheeled into recovery, where Bogart was waiting. “Hello, Baby,” he said. For Bacall, “it was the fullest, most complete moment of my life.”
In 1952, the Bogarts welcomed a daughter — Leslie. Named after the actor Leslie Howard because “[he was Bogart’s] first mentor and my imagined love,” Bacall wrote. The birth was just has happy as Stephen’s, but with “less drama”.
Their marriage, though dotted with differences and quarrels, provided immense happiness for both. Bogart found stability, trust and love in Bacall, which she reciprocated. For Bacall, she could not have met a better person to love in the business she made a living. “He educated me about Hollywood,” Bacall explained. Bogart always had her best interest first, and did not shy away from the hard truths of life. He talked to her about seeing and working with attractive people — sometimes playing a love scene while shooting on location could be tempting to continue off screen. “But you must always weigh a quick romance against what your life is — think whether it’s worth the risk,” he told Bacall, “Long after I’m gone you’ll remember this and see that I am right.” (Bacall noted in her memoirs: “And long after he’s gone I have remembered all of it and he was always right”). Bogart planted the seeds for a young, innocent Bacall to live a good, happy life. She always appreciated and was thankful to Bogie for guidance.
In the 1950s, the couple found success. They were a family, enjoying adventures and time together. But Bogart and Bacall also found acting success, though never again were they on the movie screen together. Bacall starred in Young Man with a Horn, How to Marry a Millionaire and The Cobweb — among others. Bacall’s movie choices were eclectic and had her working with tons of fascinating, new people. She enjoyed, mostly, her experiences on set.
Bogart starred in movies from smaller, independent production companies: In A Lonely Place, Beat the Devil and The Family Secret. His biggest success came with The African Queen, which co-starred with Katharine Hepburn. The film was directed by John Huston. The African Queen was shot on location in Africa, and Bacall came to spend time with Bogart and Hepburn, her friend. The filming in Africa was tough, but the time spent together was irreplaceable.
At the 1952 Academy Awards, Humphrey Bogart won Best Actor for his role in The African Queen. “It was a night to celebrate for Bogie,” Bacall remembered fondly of the evening.
The Greatest Romance
By 1955, Humphrey Bogart was dying. Bacall, friends and peers all knew, though Bogart rarely brought it up. “My career had come to a dead stop — I was caring for Bogie,” Bacall wrote. Bogart, a career smoker and drinker, developed cancer of the esophagus. He continued to work, trying to make the movies he loved to star in. He refused to see a doctor, but, early in 1956, Bacall made him. In March, his entire esophagus, two lymph nodes and a rib were removed. It was too little too late to stop the disease from spreading. “I didn’t know quite what to do,” Bacall recalled.
Bogart, however, remained positive. There were good days and bad, days where he felt like a million bucks and days he was lazy. On good days, he would come home from working or a doctor’s appointment and announce to Bacall he had gained 1 pound. “It was like being handled the sun,” she remembered. On bad days, Bogart would be enraged and depressed when reading about how gossip columnists were already writing about his death.
By November of 1956, Bogart became too weak to walk up the stairs in his house — which was then altered to accommodate wheelchairs. Guests frequented the house: Frank Sinatra, Katharine Hepburn, Spencer Tracy and Clifton Webb. All of Bogart’s old working peers stopped by and paid their respects; they all knew it was good-bye. Bacall noted Bogart was always calm and collected. There were “no dramatics”. She “marveled” at the way Bogart conducted himself in such a sickly time. She was the complete opposite, but Bogart helped her remain positive and calm. For Bacall, she worried about how to tell their kids. When Bacall knew the inevitable was close, she called for Stephen one evening.
“You know Steve,” Bacall told him, “your daddy has been very, very ill. We’ve been doing everything to try to make him better.” Stephen nodded.
“He’s asleep now. He may go into a deeper sleep. He may go into a sleep so deep he cannot wake up,” Bacall continued. Stephen nodded.
“Do you know what I’m trying to say to you?” Bacall asked. Stephen only nodded. Bacall wrapped her arms around her son. Stephen never said one word; he only nodded.
On January 13th, 1957, Bacall found Stephen by his dad’s bedside. Bacall inquired why he was with daddy: “Because I wanted to,” her son replied. After a moment together, she tucked Stephen and Leslie into bed. “Will he wake up tomorrow?” Leslie asked. Bacall had no answers: “I don’t know, darling.” She was helpless. “How do you prepare your children when you can’t prepare yourself?” Bacall wrote.
She went back to Bogart, who was being watched over by nurses. Bacall wanted to stay in bed with Bogart, but the nurses advised she get some sleep. Around midnight, she kissed Bogart goodnight: “For the first time, in eleven and half years of married life, with no response from him.” She could not sleep and “sobbed” all night. She whispered all night, “Please don’t let him die.”
Early that morning, Bacall was awakened; it was a nurse. “Mrs. Bogart, it’s all over. Mr. Bogart has died.” The nurses allowed her to see him one last time; she kissed his cheek. It was January 14th. Humphrey Bogart was 57.
His funeral was simple; music from his favorite composers (Back and Debussy) was played. His closest friends and peers attended: Katharine Hepburn, Spencer Tracy, Judy Garland, David Niven, Billy Wilder, Jack Warner. Bacall asked Spencer Tracy to give the eulogy, but Tracy was too upset. John Huston spoke instead. The entire time Huston spoke, Bacall kept her arms around her kids. “He is quite irreplaceable,” Huston said, “There will never be another like him.”
There would be relationships afterwards. She dated Frank Sinatra in the late 1950s and married actor Jason Robards in 1961. Bacall and Robards had a son together, Sam. In 1969, the couple divorced — chiefly due to Robards’ alcoholism. Bacall continued to act, be a mother and participate in political ventures that she saw were worthy causes. On August 12th, 2014, Lauren Bacall died in her apartment in New York City. She was 89 years old.
Over the years, she always spoke highly of Bogart. Why wouldn’t she? The time with Bogart was her happiest and most formative. She considered herself incredibly lucky to share her time on Earth married to Humphrey Bogart. Not only is that apparent in letters, interviews and her memoir, but also in her movies. The four the couple did provide an insight on the electricity and despair they endured with falling (and being) in love. All four are worth seeing, just to see the incredible chemistry Bogart and Bacall shared.
But, then again, those are only movies. “No one has ever written a romance better than we lived it,” Bacall always said.
