Beat the Devil

Pleasant enough piffle – a mildly diverting comedy-adventure hybrid – Beat The Devil has a belated reputation as the last word in dry drollery, an arch in-joke to whose hidden hilarity only the select and sophisticated few are privy. Humphrey Bogart didn't think so, saying `Only the phonies think it's funny. It's a mess.' But one of the movie's formidable champions, Pauline Kael, picked up on his line and trumped it: `Yes, but it may be the funniest mess of all time.' Bogart may be the shrewder critic here; after all, he sank his own dough into the venture, which went down like the ill-starred freighter upon which the cast put to sea. Only latterly has it has it acquired dubious `classic' stature.

Beat The Devil (directed by John Huston, who co-wrote the script with the up-and-coming Truman Capote) improvises a loose, comic riff on the international adventure genre. Thankfully, it's not unhinged or absurd enough to be a dreaded `spoof,' and emphatically not one (as it's become a commonplace to assume) of the noir cycle. In narrative, point of view and look (there's no coherent visual style), Beat The Devil bears not the slightest resemblance to film noir, which, by this point, was slyly starting to parody itself anyway.

The plot's McGuffin concerns uranium deposits in central Africa, which draw a disreputable and multinational crew of opportunists who hope to strike it rich by sticking it to their various motherlands. The joke lies in that these bumblers keep getting taken in by one another's cover stories, pretensions and lies – and falling for one another's spouses. It's not a bad joke, but it needs a bit more rigor to flesh it out from a skit to a feature film.

Of course it's funny, if haphazardly. A blonde Jennifer Jones, juggling an English accent as if with a mouth full of prunes, comes straight out of screwball comedy (who knew?), and Gina Lollobrigida (when not waylaid by her own attempts at English) occasionally matches her. Peter Lorre, looking much like the short and rotund Capote of the future, again displays his instinctive flair for subversive comedy (his past in sinister parts limited what might have been a long and enjoyable career). And Robert Morley, crisp as a toasted if unusually thick crumpet, serves up every line like a butler bearing a decanter of vintage port. Bogart, on the other hand, can't persuasively hide his age and infirmity, and his role as debonair lover and man of action demands superhuman suspension of disbelief (maybe he was just thinking of all the money he was going to lose).

Yet having fun doesn't have to mean that plot is irrelevant, some boring old rule made to be broken. Part of the movie's folklore is that Capote stayed up all night writing the next day's pages; maybe so, but didn't he or Huston know where they were going? Once the characters wade up on the North African shore to be apprehended by `Arabs' (surely, Bedouins?), there's no more pretense of a cohesive script or a halfway satisfying storyline. Finding a plausible way out of all the intrigue, however tongue-in-cheek it might have been, wouldn't have killed the laughs, now, would it?

Beat the Devil (1953)

A riotous, imperfect, silly, brazen, forward thinking, throwaway, brilliant spoof.

For starters, you know something will happen with Huston directing Bogart. And throw in an aging bulging Peter Lorre as a German named O'Hara. O'Hara comes into a room and says to Bogart, playing a disaffected American, "Why do you always make jokes about my name, huh? In Chile the name of O'Hara is, is a tip top name. Many Germans in Chile have become to be called O'Hara."

And so there is a dig at a lot of stereotypes, most of them with shades of truth. The style of the film is not film noir, as many people say, but more just an intrigue or war time spy film. The most direct connection seems to be Huston's own Maltese Falcon, but even this is based on Bogart and Lorre appearing in both films (as well as a fun appearance in Beat the Devil by Robert Morely doing a kind of less pleasant Sidney Greenstreet).

I sensed a lot of direct influence from Lady from Shanghai, an overlooked and frankly brilliant and daring Orson Welles film from a few years earlier. Check out the slightly surreal plot, the strange sequences of locations (land, boat, land, with an exotic overture in the middle), and the characters themselves, including Jennifer Jones as a kind of decorative female not unlike Rita Hayworth in Shanghai. There is even a man-to-man discussion of Heyworth in Beat the Devil between Bogart and a unlikely Muslim captor in a generally hilarious scene.

The film is flawed by its own excesses at times, and by a kind of frivolousness that Welles, for one, avoided by making his film's excesses more formal and less literary. Huston, like Bogart, was literate by nature, as a lot of heavy drinking men were in those days, and the dialog, as brilliant as it is (and shepherded along by Huston and Truman Capote in tandem), isn't always in synch with the acting, and with the flow of events. So if we don't really expect anything from the plot, per se, knowing it's all just in fun, we come to expect more from the series of remarks, the twists of fate, and the yawning expectations of an audience used to very high quality writing and acting by 1953.

I know some people who just can't finish watching this because it strikes them as phony and childish. Bogart might agree--he lost money on the production. But there are some great moments, and an ongoing repartee that works well, or works superbly, at different moments. I'd cash out a couple of actors for others more idiosyncratic, I think. But no one asked me, I know. Watch it for what it is. And check out Lady from Shanghai and see if you see what I mean.

I've tried, and tried, and tried, and have now given up trying to figure out the appeal "Beat the Devil" has to a certain clique of film fans. There's no denying its surface appeal. Bogie, Huston, Capote, Lorre, Jones, et al, but I'd have to agree with Bogart who called it a "dog." It's not exciting, it's not funny, and it's not appealing to the eye. The shoddy production values (at least for a film with a cast, director, and writer of such high calibre) were apparent to many critics of the time, so the video and DVD releases probably look no worse than the film did in 1953. The fact that the copyright holders (Bogart's company co-produced) let this fall into the public domain may be a clue to what they thought of it.

The other comments from reviewers capture the plot. I won't add mine.

'Beat The Devil' has got to be the most edgy movie Bogart or Jones ever attempted. Jones performance is a revaluation in her range of talent. Actually, considering 'Portrait of Jenny', 'Love Letters', and 'Song Of Bernadette' a startling revelation. In 'Beat The Devil' she more than matches Morley and Lorre in comedic brilliance. Very few actors could play a saint and a complete ditz with precision and believability.

Bogart was no slouch in comedy e.g. 'All Through The Night' and 'We're No Angels' may have called this movie, 'A mess', but it is a fine mess and a tribute to Bogart's ability.

-30-

"Beat The Devil" is one of Bogart's more unusual films. Scripted by none other than Truman Capote and John Huston, it is a very entertaining, offbeat noir satire (quite a description). Upon first viewing a lot of the humor may get lost, but view it a second time, and you can not help but laugh out loud at many of the jokes.

The cast is absolutely top notch. Bogart is perfect as Billy Dannreuther, a man who has a friend that will line him and his associates up with some land in Africa that is rich with uranium. It's always nice to see Bogie prove that he had a great sense of humor, and didn't mind poking fun at himself. Jennifer Jones, who, for some reason, always reminded me of Vivien Leigh (in "Streetcar")in this picture is terrific as Mrs. Chelm. But it is Robert Morley who steals the picture for me. Sometimes menacing, sometimes charming, he is a delight to watch.

Huston and Capote have done a great job of blending the different genres without letting them get all caught up in each other. I do wish that the final scene was written a little better, but the movie is still a lot of fun.

Caution - because the film was allowed to enter the public domain, there are a lot of really lousy prints out on the market, even on DVD. If you want this film for your own collection, do yourself a favor and spend a couple of extra dollars and buy a good print.

7 out of 10