High Sierra Full Movie Download
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After being released from prison, notorious thief Roy Earle is hired by his old boss to help a group of inexperienced criminals plan and carry out the robbery of a California resort.
Soon after getting a pardon, notorious bank robber Roy Earle hooks up with two men, Red and Babe, to rob a hotel. He also finds that they've picked up a woman along the way, Marie, a former dance hall girl. Along the way, he also becomes friendly with a poor family who have traveled to California with their granddaughter, Velma, in whom he takes more than a passing interest. While Marie falls in love Roy, he's fallen for Velma but no one will find happiness. When the robbery goes wrong, Roy and Marie find themselves on the run. Roy is eventually forced to flee into the Sierra Mountains where he readies himself for one last shoot out with the police.
Raoul Walsh directed this tense thriller that stars Humphrey Bogart as Roy Earle, nicknamed 'Mad Dog' in his youth, but who has now calmed down. After he gets out of prison, he is enlisted by his former employer to crew chief two inexperienced crooks(played by Alan Curtis and Arthur Kennedy) which he resents, but goes along with it. They plan to rob a rich hotel resort in Nevada, but along the way lonely Roy helps a crippled girl named Velma(played by Joan Leslie) get an operation to correct her physical impediment. She is grateful, but Roy is too old for her, and he leaves, but does find love with Marie(played by Ida Lupino) who loves him despite his doomed fate, as the heist goes wrong, and Roy finds himself on the run, until they get to the Sierra Nevada mountains... Well-filmed on location, exciting story of a doomed man whom time has passed by was Bogart's breakout role to leading man status.
Back in the golden days of Hollywood they had an established star-making process. A promising youngster would be plucked, often from the stage or sometimes the ranks of extras, groomed, maybe tried out in some smaller roles, but more often than not would have a picture commissioned for them and become a lead player in their very first role. The trouble is it didn't always work. Who now has heard of someone like Anna Sten, one-time golden girl at Samuel Goldwyn's studio? Even Tyrone Power, one of the star-making racket's biggest successes, is hardly of legendary status and was never an amazing actor. However many of the brightest stars of this period are ones who emerged gradually, working their way up from bit parts, through supporting roles over a period of years before they hit the big time. This is how it was for John Wayne, Gary Cooper, Spencer Tracey and, of course, Humphrey Bogart.
Bogart had been around for over a decade before this, his first leading role, and was even fairly well-known. His parts in the late 30s tended to be, not primary bad guy, but some despicable demi-villain. If he was a good guy, it was normally something like the hero's brother, as he was to George Raft in They Drive By Night. High Sierra has a similar cast and crew to They Drive By Night, and Raft was set to star but for some reason turned it down. Bogart stepped in, but made it immediately clear he was no sloppy second. Finally allowed to take centre-stage, and break away from characters you are supposed to either despise or disregard, he exudes an effortless, laid-back charisma – that extra something that separates a star from a mere actor. Of particular effectiveness however is the way he is able to believably portray the conflicting parts of Roy Earle's nature, crucially the fact that he is a nice guy, someone we would feel we could hang out with. Raft could certainly do a mean gangster act, but if we saw him put an arm round Henry Travers and say "You're alright Paw", the moment wouldn't have that same genuine warmth that Bogart gives it.
High Sierra is also the perfect starting point for Bogie because there is no-one else around who is really able to upstage him. A young Arthur Kennedy, who plays one of the gang members, was very good, but in a quiet kind of way. Kennedy even at this early stage in his career was great at smoothly and professionally plugging up gaps in the cast, playing his part to perfection but never demanding the attention be upon him. Joan Leslie is the closest we come to a distractingly poor performance, but luckily her part is smaller than we think it's going to be, and in any case her character is more supposed to represent something than be a fully fleshed-out individual. Finally there is leading lady Ida Lupino. Lupino is constantly doing stuff with her hands and eyes, and gives the impression of someone who has studied the acting manuals, worked really hard at being an actress, and yet ultimately has no natural flow, her performances looking too thought-out. No wonder she became a director. Still, she is nowhere near as hammy as she was in They Drive By Night, and her reasonably restrained turn here is a good compliment for Bogart's easy-going presence.
Bogart is also lucky to have a very fine director in Raoul Walsh, a man who certainly knew he had a star on his hands. As much as the role suits Bogart, this also happens to be perfect material for Walsh's somewhat romantic take on the outlaw life. High Sierra takes the gangster movie away from the streets and speakeasies and into territory more reminiscent of a Western, and this sense of open space is important to Walsh. Look at how Walsh handles that early sequence after Bogart gets out of jail – a potentially throwaway moment with no dialogue, but Walsh builds up its significance. A truly idyllic scene of kids playing in the park, with point-of-view shots looking up at those tall trees, giving a real sense of physical freedom and unlimited possibility. That feeling is echoed in the frequent shots of mountains and plains, in which the emphasis is on vast, inviting emptiness and the breathtaking magnificence of the land. The point Walsh is drawing out here, is that when Roy Earle is fleeing for his life into the distant peaks, he is closer to freedom than he would be in any cosy homestead. This is by the way one of Walsh's finest jobs, and if there was ever a year he deserved an Oscar-nomination this was it.
And so, with this fast-paced and fascinating gangster fable, Bogart announces his arrival. A piece of good timing perhaps, or perhaps not seeing as Bogart had waited so long for such a break. Still, Hollywood's next decade, where pictures so often bridged the gap between grittiness and touching humanity, needed a Bogart far more than the thirties. Take Bogie out of Casablanca, The Big Sleep, The African Queen or High Sierra itself, and they wouldn't be half the classics they have become. That is what star quality means.
Chicago American, Thursday, August 17, 1961, p. 23, c 5:
Prop Gun Well Used
Hollywood (UPI)---The gun used by Jimmy Cagney 29 years ago in "Public Enemy "and later by Humphrey Bogart in "High Sierra" is being used again by Cliff Robertson in "Underworld, U.S.A."
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