El bosque petrificado

Based on the stunningly emotion play of the same title Petrified Forest is the tale that Acting great Leslie Howard will always be remembered for.He is at the heart of this film as a disillusioned intellectual whose personality never survived the war. Bette Davis is also strong as the waitress who Howard shares his secrets with. Humphrey Bogart made an impressive screen debut repeating the role of Duke Mantee at Howard's insistence. Howard and Bogart played the roles on stage and it is a treasure to see these two actors performances preserved for posterity. Those on this page who have questioned Howard's portrayal of his role are obviously missing the entire emotional through line of his role. Howard was far ahead of his time, an extremely naturalistic actor in a Hollywood obsessed by type casting. Watch this film and be moved by the story. you won't regret it.

Even without the dramatic events in the last part of the movie, it would be hard to forget this movie because of the memorable acting performances that make the characters so believable and interesting. Leslie Howard, Bette Davis, and Humphrey Bogart are all excellent, and the rest of the cast is very good, too.

The first part of the film introduces the audience carefully to each character, mostly through their conversations. Howard, as a drifter in search of a purpose, comes into the roadside diner where Davis, the idealistic dreamer, works as a waitress. They are the center of attention, but the other characters also are part of the ongoing theme about finding meaning and value in life. Meanwhile, the gangster-on-the-loose Mantee (Bogart) is not seen, but we find out plenty about him. This first part is often somewhat stagebound, but the fine acting keeps it on track, and it is essential in setting up the more dramatic second half of the film, when Mantee and his gang take over the diner. All of the characters are part of a tense and interesting scene as they are all - including the gangsters - confronted with situations they cannot control.

At times it gets rather melodramatic, at other times (early on) a bit talky, but always worth watching - "Petrified Forest" is a film to see if you appreciate good acting.

The best context to look at "The Petrified Forest" is through the context of the first great disaster of the 20th Century: World War I (or, as it was known then, "The Great War"). I had just finished reading a long, thorough history of World War I when I saw this one and even though this is some twenty years after that awful catastrophe (all wars usually are, but this one especially), one can still feel it's aftershocks rolling through that desolate landscape. Maybe that's why Leslie Howard's character, Alan Squier, wound up wandering through there, as it probably reminded him of more than a few days and nights in No Man's Land (a term invented by the Great War to describe the space between enemy lines). A lot of non-American WWI veterans came out of it really messed up. The whole foundation of the 19th century's ideals had been laid to waste by this new and brutal world that WWI brought about. So it's not very suprising to me that Squier feels "obsolete", as he puts it; the role he had hoped to take with his world doesn't even exist. The best he can do is give Gabrielle Maple the chance he can never have.

Duke Mantee (played by Bogie in a superb, breakthrough performance) is also a relic, but from a different period, that of the Roaring Twenties. Not for nothing were such outlaws as John Dillenger and Bonnie Parker and Clyde Barrow glamourized during this period; one could possibly point to our current fascination with serial killers as this phenomenon's modern equivalent. But by 1936, the period of the romantic outlaw was drawing to a close if it wasn't already over (a point made five years later in "High Sierra"). Mantee is totally without hope of escape or even a reprieve. He sees his fate as clear as day and doesn't kid himself about his chances of eluding it forever. That, more than anything, would explain his rapproachment with Squier and perhaps his reluctance to shoot him until Squier gives him no choice. Mantee may know his own fate well enough, but he has no wish to inflict that fate on someone in the same position.

Granted, there's a lot more layers and angles going on in "The Petrified Forest" than what I've just mentioned here, but this was the one that grabbed the most. Because human nature doesn't change that much, perhaps that's why this brilliant stage piece still holds my respect.

"The Petrified Forest" (Archie Mayo, 1936) is most fascinating for its eager willingness to voice criticisms of wealth, power, authority, and inequality in America. Perhaps its acute social commentary should be unsurprising considering that Warner Brothers released the romantic crime drama during the depths of the Great Depression, but it is freshly relevant just the same, striking a note that would not be witnessed in the films of the forties and fifties. In speaking to the exploitation of workers, the snobbery of corporatism, the repression of women, blacks, artists, and literary poets, the reign of gangland crime, the American government's complicit abuse of power, and the loss of individuality in an increasingly meek age, "The Petrified Forest" manages an equal-opportunity iconoclasm that belies any party affiliations. Simply put, the film is unafraid to criticize America, and it's that sense of freedom that makes it particularly delightful. Best of all, "The Petrified Forest" voices its dissent through colorful witticisms and engaging banter, never taking itself too seriously or losing its sense of humor.

"The Petrified Forest" is also particularly notable for marking Humphrey Bogart's first major screen role as the nominal villain and escaped gangster Duke Mantee. The unshaven, pompadour-sporting Bogart is leering and menacing, brooding and growling and glowering, projecting the lonely, hard-bitten cynicism that would soon become his trademark. At the same time, however, he also emerges as a sympathetic and noble figure, one who transcends his criminal trappings through a fierce sense of integrity and individuality. Not only did these hard-boiled character traits become the template for the Bogart persona, but they also serve as a source of magnetism within the film's social milieu. Aside from the corporate oilman (Mr. Chisholm, played by Paul Harvey), Duke Mantee's hostages in a desert diner come to admire and salute his rugged individualism and defiance of the status quo, even as he endangers their lives. They yearn for the empowering resistance that he embodies and the gritty social rebelliousness that he wears on his prickly face, and when the film, before its final shootout, labels the confrontation as "Duke Mantee vs. the American government," it's clear that the sympathies of its principal characters reside with the Duke.

"The Petrified Forest" is also noteworthy for the dynamic contrast between its two black characters. One of them (Joseph, played by John Alexander) is virtually the embodiment of the pre-sixties Hollywood stereotype, a meek, shuffling, subservient chauffeur who always looks to his wealthy boss for paternalistic approval before opening his mouth. The other (Slim, played by Slim Thompson) is one of Duke Mantee's gangster associates, and he's clearly a liberated, autonomous, independent soul who offers his opinions on his own accord while mocking his "colored brother" for his subservience. He's almost a figure out of 1966 rather than 1936, and the difference between these two black men highlights the social conflict that the film heeds. On one side is the ruggedly individualistic and socially defiant Duke Mantee and a black man who marches to his own beat; on the other is a fat cat corporate tycoon and his docile and emasculated black servant, who, in turn, represent the American status quo. And so while Mantee and his gangsters are nominally the villains of "The Petrified Forest," at heart they constitute the film's heroes and rousing saviors. They are the men who obliquely brighten the hopeless despair and repressed frustrations of a trapped waitress who is secretly a talented painter (Gabby Maple, played by Bette Davis) and a fatalistically passionate French drifter-poet who is hitching his way to the Pacific Ocean (Alan Squier, played by Leslie Howard). They also seem to enliven several of the other repressed characters, from the restless wife of the cowardly tycoon (Mrs. Edith Chisholm, played by Genevieve Tobin), to an ex-college football player struggling to release his pent-up energies (Nick, played by Eddie Acuff), to an old man who longs for Billy the Kid, Mark Twain, and the legendary individualists of a bygone era (Gramp Maple, played by Charley Grapewin).

To be sure, the film doesn't explicitly paint Duke Mantee and his fellow gangsters as heroic saviors, but it's clear where the film's sympathies lie.

Ultimately "The Petrified Forest" is about an umbrella of misfits and their discontent with the repressive and exploitative American establishment, and it's that pulse of iconoclasm that keeps it audacious and provocative after all these decades.

Here is one of the reasons I love old movies so much - intriguing writing, great acting, and interesting characters hold our attention throughout the movie without needing to resort to desperate all-out action, explosions, and computer effects.

Leslie Howard is a gentle intellectual roaming the Arizona desert who happens upon a quaint little cafe/gas station in the middle of nowhere, amidst sand and cactus. He immediately stirs the emotions of big-eyed waitress, Gabby (played by an adorably youthful Bette Davis), who holds a dream of going to France and finding herself in the world. But despite their quick and mutual adoration for one another there is impending tension hovering around their introduction, as news continually escalates about a killer named Duke Mantee (Humphrey Bogart) who's on the run and not far from the diner. Eventually, the infamous gangster shows up with some thugs and takes over the cafe, holding an array of wonderfully colorful characters hostage.

This was originally a play with Leslie Howard and Humphrey Bogart, and leading man Howard reportedly refused to do the picture without Bogie being in it. As a result, this is noteworthy also as Bogart's big breakout movie, and it would only be a few more years before he would hit super-stardom all on his own. Humphrey seems to put a lot into his gangster character, investing Duke with the necessary evil demeanor, yet also with a hint of heart and soul. Leslie Howard and Bette Davis make a wonderful pair, and both give fine performances; which makes the potentially talky twenty minute scene where they first get acquainted actually completely captivating. Charley Grapewin is delightful and funny as Davis' chattering grandpa. Dick Foran, playing a strapping and comical football star who pumps gas while always trying to woo Gabby, was very good in this film and it's probably the best work I've seen him do in movies, before he wound up as a "B" player for Universal. His character here is in complete contrast from the heroes and "singing cowboys" I've been used to seeing him play.

At first watch I wasn't completely satisfied with the ending (which I will not reveal) but after thinking about it I came to the decision that it really fit the story well after all, and is actually very poetic. ***1/2 out of ****