#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Frank McCloud travels to a run-down hotel on Key Largo to honor the memory of a friend who died bravely in his unit during WW II. His friend’s widow, Nora Temple, and wheelchair bound father, James Temple manage the hotel and receive him warmly, but the three of them soon find themselves virtual prisoners when the hotel is taken over by a mob of gangsters led by Johnny Rocco who hole up there to await the passing of a hurricane. Mr. Temple strongly reviles Rocco but due to his infirmities can only confront him verbally. Having become disillusioned by the violence of war, Frank is reluctant to act, but Rocco’s demeaning treatment of his alcoholic moll, Gaye Dawn, and his complicity in the deaths of the Osceola Brothers and a deputy sheriff start to motivate McCloud to overcome his Hamlet-like inaction.
Plot: A hurricane swells outside, but it’s nothing compared to the storm within the hotel at Key Largo. There, sadistic mobster Johnny Rocco holes up – and holds at gunpoint hotel owner James Temple, his widowed daughter-in-law Nora, and ex-GI Frank McCloud.
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|7.8/10 Votes: 38,996|
|7.6 Votes: 337 Popularity: 9.601|
Intense classic showcasing many wonderful artists.
Frank McCloud is in the Florida Keys to visit the widow and father in law of an old war buddy, whilst at the hotel they run, he finds it has been taken over by gangster Johnny Rocco and his thugs.
The cast, the performances, the screenplay, tight direction, the photography and on it goes to give us a bona fide entry into 1940s classics. It never ceases to amaze me how well Key Largo stands up on repeat viewings, each viewing bringing something new to my ever keen eye. This latest viewing brought me abundant joy in observing the background acting of the supporting players, not one of them looking on waiting for the director to shout CUT, each adding greatly with intense facial mannerisms – check out some of the background stuff Thomas Gomez does for example. Ah intense, what a truly befitting word to use as regards John Huston’s direction here, perfectly capturing the stifling heat of Largo and coupling it with the sweltering tension inside this run down hotel.
Key Largo is often thought of as the lesser film from the Bogart/Bacall production line, which in fairness is against some pretty special opposition. Maybe we do lose the sexual chemistry of the mighty duo here? but in its place is a mano-mano face off teetering on the brink of explosion, Edward G Robinson’s weasel Rocco in danger of becoming a loose cannon to McCloud’s staid drifter, the atmosphere is palpable as this room full of hate and mistrust starts bubbling towards boiling point.
Humphrey Bogart, Lauren Bacall, Edward G Robinson, Lionel Barrymore, Claire Trevor (Academy Award Winner Best Supporting Actress), Thomas Gomez and Harry Lewis are all excellent, all benefiting from master director Huston molding them together. Whilst Karl Freund’s deep focus photography perfectly encapsulates the mood of the piece. I just love Key Largo so much, from a heart tugging singing for your drink scene, to a retreating in the shadows shot of Bacall, Key Largo is one of the reasons I became a cinema obsessive. 9/10
A storm is about to break over Key Largo, but that’s nothing compared to the emotional eruptions going on inside James Temple’s run-down hotel, where the crippled old proprietor, his daughter-in-law, and a disillusioned ex-GI are being held up by the notorious gangster, Johnny Rocco. What does he want? Well, to put in his own words, he wants “more”. And his temper, as well as his gun, could very well go off at any given moment. Mr. Temple, you might want to stop antagonizing him. This brilliant, tense noir is, in my opinion, one of master director John Huston’s best. Considered by some to be one of the lesser Bogie/Bacall pairings, it’s still a superb film that you don’t want to miss. Some of the movie’s best moments are (1) Claire Trevor, as Rocco’s alcoholic moll, desperately singing for the sadistic Rocco and hoping to be rewarded with a drink, and (2) the verbal battles between the arrogant Rocco, and the wonderfully feisty Mr. Temple.
Would I recommend? Yes, yes, and…yes.
Superb cast and taut drama
While chiefly remembered as a Bogart/Bacall vehicle, this story of expatriate gangsters commandeering a sleepy tropical hotel is, in actuality, a tightly directed ensemble piece with acting chops to burn.
There’s Edward G. Robinson as Johnny Rocco–the brash, boisterous, sleazy gangster whose frailties (cowardice and a yearning for better times) gradually unfold before us. There’s Lionel Barrymore as James Temple, the delightfully feisty and crusty hotel owner overcome with revulsion at Rocco’s presence. There’s Thomas Gomez, Harry Lewis, Dan Seymour and William Haade as Curly, Toots, Angel and Ralphie–Rocco’s colorful but hard-edged thugs who are presences unto themselves. There’s Claire Trevor as Gaye, Rocco’s declining, alcoholic moll who symbolizes more than anything how far Rocco has fallen.
That’s an awful lot. Too much scenery-chewing from Bogart or Bacall would push it over the top–and director/screenwriter/demigod John Huston knows it. He coaxes remarkably restrained and subtle performances out of his star couple. The romantic tension between them is suggested but never shoved in the audience’s face. Bogart’s wandering war vet Frank McCloud keeps his lips tight and plays his cards close to the chest–a streetwise outsider through and through. Bacall’s Nora Temple lets her anger and distaste pour out through her smoldering eyes more often than her mouth.
Ultimately, the subtlety is so well-hidden between the gigantic performances of Robinson and Barrymore that you might miss just how sophisticated Frank’s story is. Disillusioned and drifting since the war, he stops in to visit the wife (Nora) and father (James) of a fallen comrade whose bravery he admired. Implicit in his visit is an unspoken apology that it is he, and not their loved one, who is returning home. The fallen soldier is a constant unseen presence in the film–his bravery and honor mocking what Frank sees as his own cowardice and inability to stand up to Rocco (Bogart’s fast-talking explanation of why he didn’t shoot Rocco when he had the chance is classic and rare–a protagonist lying to his friends and his audience–“One Rocco more or less isn’t worth dying for!”). Frank’s eventual decision to take on Rocco and his hoods is a victory against the fear that plagues and shames him.
In a larger sense, this is a true period movie about a generation of men returning home from the greatest conflict the world has ever known. Most of our national memories of World War II are proud and triumphant, but, as with any war, it left countless people scarred physically and mentally. Though Frank is a decorated soldier, he feels somehow that what he did wasn’t enough (because he lived and his friend did not?), and he returns back to a country in which he has no place with no real pride or satisfaction. The confrontation with Rocco affords him a chance (perhaps only possible in Hollywood or on the stage, where the story of “Key Largo” was first performed) to make things right with his world.
While it has not aged as well as the better-known films of Bogart’s and Huston’s careers, “Key Largo” is a film that, for a little investment of attention and thought, will pay big dividends to anyone that really and truly loves movies.
Another Bogart/Huston Masterpiece
“Key Largo” was the second collaboration between Humphrey Bogart and John Houston during 1948 (the other being “The Treasure of the Sierra Madre). Both films represent both artists at the peak of their respective careers.
“Key Largo” is about a group of gangsters who have taken over a hotel located on Key Largo. Along comes Bogey, who has come to visit the father of a war time pal who was killed, and of course, gets drawn into the drama.
Huston’s cast is flawless. Bogart as Frank McCloud is suitably laid back and brave as he confronts the gangsters headed by Edward G. Robinson as Johnny Rocco. Lauren Bacall plays the widow of Bogey’s war time friend and the venerable Lionel Barrymore is outstanding as Temple, the hotel proprietor. Claire Trevor plays Rocco’s moll Gaye Dawn, an alcoholic former singer for which she deservedly won the Academy Award for Best Supporting Actress. Appearing as as Rocco’s henchmen are veterans Thomas Gomez and Dan Seymour and Harry Lewis as Toots a “Wilmer” type character (from “The Maltese Falcon”). Monte Blue and John Rodney represent the law.
Bogart and Robinson appeared together many times during the 30s with Robinson usually playing the hero and Bogey the heavy. This time their roles are reversed. This film was unfortunately, the last time Bogart and Robinson appeared together. It’s a pity because they always played against each other so well. I always liked Robinson better on the wrong side of the law. His Rocco is a slimy brutal villain. He even gets to slap Bogey around in this one.
It is interesting to note the name of the boat that the gang make their getaway on is called “Santana”. Santana was the name of Bogey’s own personal boat and the name of his production company.
Original Language en
Runtime 1 hr 40 min (100 min)
Rated Not Rated
Genre Action, Crime, Drama
Director John Huston
Writer Richard Brooks, John Huston, Maxwell Anderson
Actors Humphrey Bogart, Edward G. Robinson, Lauren Bacall
Country United States
Awards Won 1 Oscar. 1 win & 1 nomination total
Production Company N/A
Sound Mix Mono (RCA Sound System)
Aspect Ratio 1.37 : 1
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm