O Rosto de Humphrey Bogart

If you like Bogart, you will enjoy this film thoroughly. I only wish it was on video so I could buy it! Very nostalgic. Very Bogart...as he was in his Ace Private-Dick days as Sam Spade/Philip Marlowe.

Wow... Ok, Bogie fans, here's a unique treat for you -- a perfectly excellent noir detective story led by Robert Sacchi doing a holistic Humphrey Bogart impression so near-flawless that it's, paradoxically but truly and lovingly, a Bogie movie without Bogie. And a pretty darn good one at that.

Sacchi nails Bogart's look, voice, phrasing, facial expressions, posture, mannerisms, and cool suave. In fact, the only reason I said "near" flawless is that in some of the mannerisms he's too good. Meaning, he could have backed off a bit on the pointing, hand-to-lips, and face-twitch. He duplicates those Bogie quirks flawlessly, he just did them perhaps too often. Still, the performance is miraculous and only about .01% away from Flawless.

The wardrobe department nails the clothing (except for the paisley bathrobe... that one was a misfire). And the script captures not just the genuine hard-boiled spirit of Bogie's private dicks but also the emotional and ethical subtleties that Bogart displayed in most of his characters (with one exception -- a single line, an attempt at humor that was too lecherous for the character). Another smart feature of the script is its clever, un-forced nods to Hollywood history. But the dialog doesn't just re-use lines from actual Bogie films, it creates new quotables that are totally worthy of Humphrey Bogart's film legacy.

Other than the bathrobe, the theme song is the only truly bad thing about this movie (and it is genuinely atrocious!). But excusing those items and the photography in a few scenes looking like grade B 70s television production (modest budget), this is truly a great movie.

Almost missed it. While visiting friends in Philadelphia sometime in the early 1980`s, I was channel surfing after everyone else went to bed. It wasn`t just Bogart he was obsessed with; but rather the entire era of those old flicks those of my age know so well. Add to that a plot liken to The Maltese Falcon - where so many different characters were interacting with Sacchi - and you have a piece of art as far as I`m concerned. About ten years later it appeared on TV and I taped it. >

This amusing, sometimes poignant look at the Hollywood detective genre of the 1940's and 1950's stars Robert Sacci as an unnamed former cop who retires, uses his life savings to pay for plastic surgery to transform his image into that of his idol, Humphrey Bogart, then sets up shop as a private eye under the name "Sam Marlowe". Robert Sacchi, incidentally, is one of the rare few Bogart impersonators who got the lisp exactly right; more to the point, the body and facial language are there. For awhile, "Sam"'s only client is his landlady, who wants him to find her undersized boyfriend, and his only conversational foil is his secretary, simply called "Dutchess" (Misty Rowe), who in his own words, "looked like Marilyn Monroe and made about as much sense as Gracie Allen", and has a passion for banana splits. Then he encounters Elsa (Olivia Hussey), the plain, sweet, virginal daughter of a retired props-master who has been murdered for no discernible reason. In the process of investigating the murder, Sam shortly runs across: the Gene Tierney lookalike daughter (Michelle Phillips) of Anastas, an avaricious, obscenely wealthy Greek shipping tycoon (Victor Buono, turning in a creditable Sidney Greenstreet), his hapless, long-suffering second wife (Yvonne deCarlo, who manages to play a variety of put-upon emotions without saying a word), his two smarmy henchmen (Herbert Lom, channelling Peter Lorre, and Jay Robinson, doing a reasonably accurate Lionel Atwill), and Anastas' vicious, amoral Middle-Eastern potentate (Franco Nero) who comes complete with a glamorus and bafflingly loyal mistress (Sybil Danning), all of whom would give anything to acquire the "Eyes of Alexander", two huge, perfectly matched star sapphires. When Elsa is murdered, Marlowe's interest in solving the case becomes personal, and he sets out through a labyrinth of Los Angeles landmarks, including the Hollywood Bowl, the scatological and esoteric attractions of Hollywood Boulevard, and Santa Catalina Island in pursuit of the rocks, determined to get at them before either of the two wealthy competitors. Throw in cameos by Mike Mazurki and assorted others, the traditional dumb-but-sympathetic ally on the police force, and a plethora of nicely drawn character turns that provide dimension to practically all players, and despite an unfortunate title song, you have, to my mind, a thoroughly enjoyable movie experience.

I usually dislike detective films, I mean I don't particularely like gumshoe films, which I rarely undertsand, because of the too complex plots. But here, this is an exceptional piece of work, funny, totally crazy and a fantastic tribute to Humphrey Bogart and his legend. Again, as for any private eye film, don't bother the details of the story, it's not important at all. Just enjoy and pay attention to those old actors such as George Raft, Yvonne De Carlo, Victor Buono. Useless to say it is a light hearted film, nearly a comedy and it could never had been a novel; only a movie. And it was actually a book. I hardly believe it. The director Robert Day was a British film maker who gave us some TARZAN adventures in the sixties. Good little, very small tribute to Gene Tierney for LAURA about which we can hear a bit of David Raksin's music. Yvonne de Carlo has a too tiny role here, if only tou sneeze, you'll miss her. She appears in the party, no lines. She deserved better. Poor Yvonne.