The 1930s were a variable period for Walsh as he spent some time at Paramount making, among other films, genial but rather bland musicals which lacked his distinctive grit and clearly interested him little. This period, though, does include the likably rowdy comedies “Me and My Gal” (1932) and “Sailor’s Luck” (1933), the lusty brawling of “The Bowery” (1933) and “Under Pressure” (1935) and the offbeat semi-Western “Wild Girl” (1932). A recognizable style and recurrent thematic interests were beginning to emerge in Walsh’s work.

Walsh’s career took a dramatic turn in 1939 when he assumed direction of “The Roaring Twenties” for Warner Bros. It began a fruitful 15-year association with that studio, in whose productive and creative environment Walsh flourished. At Warners, Walsh associated with first-rate talent at all levels. From these collaborations emerged a body of films that demonstrated Walsh’s remarkable talent for different genres.

Walsh directed four first-rate examples of film noir and/or romantic melodrama: “They Drive By Night” (1940), “High Sierra” (1941), “The Man I Love” (1946) and “White Heat” (1949). “High Sierra” and “White Heat,” among the very best gangster films, demonstrate Walsh’s mastery of action; his style is wonderfully straightforward and unpretentious but not without flair and bravura. “They Drive By Night” and “The Man I Love” focus more on relationships than on action. Ida Lupino’s role in the latter, an unusually feisty entry in the “women’s film” genre, film calls attention to Walsh’s continued interest in, and sympathy with, strong women characters.

Most of Walsh’s westerns are skillfully made if traditional action-oriented films such as “They Died With Their Boots On” (1941). However, “Pursued” (1947), with its strong Freudian undertones, introduced the psychological western and belies the notion that Walsh’s style and technique were always simple and direct. “Colorado Territory” (1949) is an affecting and effective reworking of “High Sierra.”

“Objective Burma!” (1945) is one of the outstanding war films of the 1940s and amply showcases Walsh’s talents. Critic Jean-Pierre Couroson has observed of this film: “Seen purely in terms of direction…Walsh’s control over pace and space, narrative and detail, performance and logistics, is total.”

After his contract with Warners expired in 1953, Walsh continued working for another 11 years, but his successes were limited. Among his better films from this later period were the Western “The Tall Men” (1955) and the story of a canny, land-buying club “hostess” (a prostitute in the source novel), “The Revolt of Mamie Stover” (1956). Still, Walsh’s long and productive career surely mark him for consideration among the best craftsman working in the heyday of the Hollywood studio system.

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Raoul Walsh

After going to serve in the British RAF in the Second World War would start his film career neatly at the end of the decade of the 40 to appear as supporting actor in 1948 in a handful of films, among which “The Strange Quote “(1948) by Terence Young and” Hamlet “(1948), the famous Laurence Olivier made adaptation of the classic William Shakespeare. Curiously, in “Hamlet” shared credits with an actor named Peter Cushing, then inseparable in their terrifying raids.

Throughout the first half of the 50′s, slender figure, athletic and elegant Christopher Lee appeared in a significant number of titles, mostly as a villain.
His most important films of this first stage are “The Horatio Hornblower” (1951), Raoul Walsh, “Moulin Rouge” (1952) by John Huston and “The Crimson Pirate” (1952) by Robert Siodmak.

Lee’s big break came with his portrayal of Frankenstein’s monster in the Hammer film “The Curse of Frankenstein” (1957), a film co-starring Peter Cushing and directed by Terence Fisher. This trio of characters became over the years in a major personal foundations of the legendary British horror factory.

In and out of the Hammer, Christopher played the great myths of film and fantasy literature, from the Count Dracula (his most usual and remembered) to the Mum, to Sherlock Holmes, Fu Manchu and the aforementioned Frankenstein.
Multitude of games of this type nurtured his vast filmography, the most important “Dracula” (1958), “The Mummy” (1959) or “The Hound of the Baskervilles” (1959), the three films directed by Terence Fisher, and ” The Return of Fu Manchu “(1965) or” Rasputin “(1966), both conducted by Don Sharp.

In 1961 I settled down emotionally and married the beautiful model Birgit Kroencke Dutch national, with whom he had a daughter named Christine.

During the 70′s profusion remained the keynote of his career, taking part in the distribution of numerous titles of horror, fantasy, intrigue and adventure, many low-budget and value.
The most recommended films of this period are “The Private Life of Sherlock Holmes” (1970) Billy Wilder, in which she played Mycroft, Holmes’ brother, leaving the lead role of Robert Stephens, “The Three Musketeers” (1973 ) Richard Lester, “The Wicker Man” (1974) by Robin Hardy, or “The Man With The Golden Gun” (1974), a film by Guy Hamilton based on the character created by Ian Fleming, a spy and writer curiously distant cousin of Christopher Lee himself.

In the last stage of his career he has been seen briefly in the film “Sleepy Hollow” (1999), directed by Tim Burton, filmmaker influenced by the Hammer, and playing Saruman in the trilogy that Peter Jackson made on Tolkien “The Lord of the Rings.”

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End of the World

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In principle the desire of their parents was to study medicine, but his bad behavior at school led to his expulsion from the Phillips Academy and joining the U.S. Navy.

When I was fighting in World War I, Bogart suffered in a boat accident that left him paralyzed his upper lip, making this a significant physical tara speech.

After completing the Great War, Bogart returned to the Big Apple and start his career as a stage actor with William S. Brady.
After passing through Broadway with little success he moved to Hollywood to try to seek his fortune in the movies, getting his debut in a short musical called “Broadway’s Like That” (1930), which would films like “A devil with women” (1930) and “Upstream” (1930), a prison comedy directed by John Ford.
His classic type of drive would be established in those years 30, when he starred for a number of Warner titles in the psychology of his characters had been defined by an attitude rarely inclement and imperturbable.

Among them, films like “Bullets or Ballots” (1936), William Keighley’s film co-starring Edward G. Robinson, “The Petrified Forest” (1936), a film by Archie Mayo which also involved Bette Davis and Leslie Howard, “Dead End” (1937), directed by William Wyler, “Marked Woman” (1937) Lloyd Bacon and Bette Davis, “The Amazing Dr. Clitterhouse” (1938), a curious and magnificent title directed by Anatole Litvak in which they shared credits again with Edward G. Robinson, “Angels with Dirty Faces” (1938) by Michael Curtiz and James Cagney and Pat O’Brien as co-stars or “The Roaring Twenties” (1939), directed by Raoul Walsh film was played by Cagney.

Humphrey Bogart was a very handy player for Warner but his status was far from being a big star in Hollywood.
Begin the 40 was ended at 30, showing Bogie gangster in “Brother Orchid” (1940) Lloyd Bacon.
Before starring in the two titles that would raise to stardom, Bogart appeared in “They Drive by Night” (1940), a great film by a great director, Raould Walsh. With the same director starred “The last refuge” (1941), a beautiful title that became one of the most acclaimed of its protagonist, confirmed acclaim for starring in the directorial debut of John Huston, The Maltese Falcon ” (1941), film in which Bogart played in a superb detective Sam Spade. From there, the New York actor became one of the great icons of cinema.

The next year, “Casablanca” (1942) by Michael Curtiz would make him an idol and a legend for all generations moviegoers.

The number of master titles Bogart starred in the decade of the 40 is overwhelming, “Sahara” (1943) Zoltan Korda, “Have and Have Not” (1944), Howard Hawks key title, which helped him learn to love of her life, Lauren Bacall, “The Big Sleep” (1946), also directed by Hawks, “The Dark Passage” (1947) in Delmer Daves, “Dead Reckoning” (1947) John Cromwell, “Key Largo” ( 1948) by John Huston, The Treasure of Sierra Madre “(1948) again with Huston or” Knock on Any Door “(1949), a film co-starring John Derek and directed by Nicholas Ray.

Friendly, sports-loving, independent (had set up his own production company called Santana Pictures) and committed (he was one of the main supporters of the protest in Washington against the Witch Hunt), Bogie was also a celebrity and a beloved character out of the screen.

If the forties were good for his film career, the fifty continue the same course. “In a Lonely Place” (1950) by Nicholas Ray, “The African Queen” (1951) directed by his friend John Huston, “The Fourth Estate” (1952), a story about journalism signed by Richard Brooks, “The Barefoot Countess “(1954) by John L. Mankiewicz, “Beat the Devil” (1954) by John Huston, “The Caine Mutiny” (1954), directed by Edward Dmytryk title, “Sabrina” (1954) Billy Wilder, “Desperate Hours” (1955) by William Wyler and his latest film, the masterpiece by Mark Robson set in the world of boxing, “The Harder They Fall” (1956) assume the title of a recent extraordinary films.

For his performance in “The African Queen” (1951), Humphrey Bogart get the best actor Oscar, having as co-nomination for Montgomery Clift in “A Place in the Sun”, Marlon Brando for “A Streetcar Named Desire” Fredric March in “Death of a Salesman” and Arthur Kennedy’s “New Dawn”. His last nomination would be for “The Caine Mutiny”, getting the prize Marlon Brando for “On the Waterfront.”

Although married four times, the most important woman to always be Bogey Lauren Bacall, with whom he married in 1945. Was previously married to actress Helen Menken, Mary Phillips and Mayo Methot.
Bogie died on January 14, 1957 in Hollywood because of throat cancer. He was 58.

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Beat the Devil

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Carole Lombard life and legend