308 reviews
The acting by Bogart is brilliant and Katharine Hepburn is as good.It´s exciting and VERY funny.It also have a great direction by John Huston and even if a few of the action scenes feels old and maybe some of the special effects is not fantastic Humphrey Bogart really deserved his Oscar but Katharine Hepburn is as good.The dialogue between them is wonderful.4,5/5
This is one of those films whose special effects and scenery must have been astounding at the time (1951), but which seem mediocre at best today. BUT, and that's a big 'but', this does not detract from the greatness of the movie overall. The scenery truly is beautiful, for one thing--and the direction and cinematography is great.
However, what truly makes this film a classic, and deservedly so, is the performances given by the lead actors. For their one film together, Humphrey Bogart and Katharine Hepburn pull out all the stops. Bogart is crude, dirty and a low-life river-rat with a heart of gold. He gives the Oscar-winning performance of his lifetime. Hepburn is prim and prissy, but always manages to win us over with her radiance and vulnerability, as well as that core of steel and strength she lends to all her on-screen characters. He's charming, in his way; she's achingly beautiful in hers. You can't help but warm to Charlie and Rosie, and truly, genuinely root for them to get together.
The ending is predictable; all 'opposites-attract' romance adventure stories are. You know without a doubt that the sunset will be there for Charlie and Rosie to ride off (or swim) into together. But you still hurt when Charlie hurts; and you still smile like a fool when he sees Rose, and when he tries to explain her forthrightness away by jungle fever. You believe the love, and that's what the African Queen is all about.
Oh, and the gin and leech scenes, of course. Those are brilliant, as everyone else here has already mentioned! ;)
However, what truly makes this film a classic, and deservedly so, is the performances given by the lead actors. For their one film together, Humphrey Bogart and Katharine Hepburn pull out all the stops. Bogart is crude, dirty and a low-life river-rat with a heart of gold. He gives the Oscar-winning performance of his lifetime. Hepburn is prim and prissy, but always manages to win us over with her radiance and vulnerability, as well as that core of steel and strength she lends to all her on-screen characters. He's charming, in his way; she's achingly beautiful in hers. You can't help but warm to Charlie and Rosie, and truly, genuinely root for them to get together.
The ending is predictable; all 'opposites-attract' romance adventure stories are. You know without a doubt that the sunset will be there for Charlie and Rosie to ride off (or swim) into together. But you still hurt when Charlie hurts; and you still smile like a fool when he sees Rose, and when he tries to explain her forthrightness away by jungle fever. You believe the love, and that's what the African Queen is all about.
Oh, and the gin and leech scenes, of course. Those are brilliant, as everyone else here has already mentioned! ;)
An amazing romance-adventure classic highlighted by the brilliant performances of Bogart and Hepburn. Oscar winner Bogart's Charlie is a broken man who finds true hope and happiness in Hepburn's Rose. Rose finds love and meaning from Charlie. It's adorable to see them call each other "Missus" and "Mr. Almont" even when we know that they love each other. Even when they have their "first quarrel" near the end of the picture, we know that their lives have changed forever as a result of the other person. It's a film about true love. This is also a very funny film, which was a shock to director Huston. Bogart's stomach growling scene early on in the film is a hoot. More humor commences as both stars play off of each other wonderfully. The scenary is beautiful. No film has captured the essence and importance of nature better than this classic. This is the film that sparked other romance adventures such as "Romancing the Stone" and "Six Days and Seven Nights." Before you view those newer installments, you better check out the one and true original classic.
To face a script in which most of the plot revolves around the dialogue of only two people in one location must be terrifying. Thank goodness for Katharine Hepburn and Humphrey Bogart. John Huston's adaptation of C.S. Forester's The African Queen was solid. And the decision to film on location in Africa helped develop the concept of nature as a viable character within the plot helps solidify the film. But without Katharine Hepburn, and Humphry Bogart, this film could have been reduced to a nice little travelog on the beauty and terror of African and the pretty animals living there. Within The African Queen each character undergoes metamorphosis. Charlie Alnutt grows from an apathetic man who enjoys the inside of a bottle, to a courageous man. Rosie in turn allows herself to be human, and vulnerable perhaps for the first time in her life. With lesser actors these changes would have appeared rushed, unexplained,and a dull beginning to an inexplicable romance. But it isn't. It's a captivating film. Rosie's brittle smile, Charlie's face as his vices are destroyed, these are moments of brilliance in an incredible film. I highly recommend it.
It's also worth noting that this was not an easy film to make. These performances survived crew and cast illnesses, constant mechanical errors and inclement weather. For more about the conditions it was created under, I suggest you read Katherine Hepburn's The Making of The African Queen or How I went to Africa with Bogart, Bacall and Huston and almost lost my mind. She's not the sanest author in the world, but all the more enjoyable.
It's also worth noting that this was not an easy film to make. These performances survived crew and cast illnesses, constant mechanical errors and inclement weather. For more about the conditions it was created under, I suggest you read Katherine Hepburn's The Making of The African Queen or How I went to Africa with Bogart, Bacall and Huston and almost lost my mind. She's not the sanest author in the world, but all the more enjoyable.
The African Queen is a significant historical film in two respects. Along with King Solomon's Mines it was the first American film to show the real Africa to the American public. Previously our ideas about Africa were gleaned from studio backlot jungles created for Tarzan films and the like. The African Queen changed all that, no cheap studio sets would do any more.
But also, The African Queen dealt with romance among mature adults in their forties. A ne'er do well river pilot on a ramshackle boat and the spinster sister of a missionary, thrown together by the circumstance of war.
Humphrey Bogart, our intrepid river pilot, makes a scheduled stop to deliver mail to the mission run by Robert Morley and Katharine Hepburn. And he breaks the news to them that World War I has started. Almost as soon as he leaves them, German troops from East Africa come to call. Bogie comes back and he finds Kate with her dead brother. They bury him and skedaddle. And while skedaddling they conceive of a cockeyed plan to help in the war effort.
To say what it is and what happens would spoil the story, but let me say this. The original opening of the film with Bogart coming in as church services are being conducted for a few hundred uncomprehending native Africans is Director John Huston's comment on the usefulness of the lives Morley and Hepburn have led up to that point. What Hepburn and Bogart accomplish by the end of the film makes up for the waste that was Hepburn's life.
But The African Queen is a great romance as well. Bogart became a great romantic star in Casablanca and he upholds the tradition here, winning an Academy Award for Best Actor. Katie Hepburn doesn't seem to miss her usual partner Spencer Tracy not a bit, the part of Rose Sayer is a perfect fit. As was remarked, they're going to have stories to tell their grandkids.
When I watch The African Queen I'm reminded of what Bogart's friend Frank Sinatra sang in one of his best ballads about how Love Isn't Just For the Young. Kate and Bogie sure prove it here.
But also, The African Queen dealt with romance among mature adults in their forties. A ne'er do well river pilot on a ramshackle boat and the spinster sister of a missionary, thrown together by the circumstance of war.
Humphrey Bogart, our intrepid river pilot, makes a scheduled stop to deliver mail to the mission run by Robert Morley and Katharine Hepburn. And he breaks the news to them that World War I has started. Almost as soon as he leaves them, German troops from East Africa come to call. Bogie comes back and he finds Kate with her dead brother. They bury him and skedaddle. And while skedaddling they conceive of a cockeyed plan to help in the war effort.
To say what it is and what happens would spoil the story, but let me say this. The original opening of the film with Bogart coming in as church services are being conducted for a few hundred uncomprehending native Africans is Director John Huston's comment on the usefulness of the lives Morley and Hepburn have led up to that point. What Hepburn and Bogart accomplish by the end of the film makes up for the waste that was Hepburn's life.
But The African Queen is a great romance as well. Bogart became a great romantic star in Casablanca and he upholds the tradition here, winning an Academy Award for Best Actor. Katie Hepburn doesn't seem to miss her usual partner Spencer Tracy not a bit, the part of Rose Sayer is a perfect fit. As was remarked, they're going to have stories to tell their grandkids.
When I watch The African Queen I'm reminded of what Bogart's friend Frank Sinatra sang in one of his best ballads about how Love Isn't Just For the Young. Kate and Bogie sure prove it here.
- bkoganbing
- Jun 17, 2005
- Permalink
THE African QUEEN is probably one of the most widely available films in the world, on sale in the electronics department of virtually every major retail chain, a commonplace at every rental counter, frequently seen on television. It is hard to imagine any one in the western world, especially in the United States, who has not seen the film at least once--and probably more than once. And so we take it for granted.
That is a mistake. Based on the famous C.S. Forester novel, which it follows quite closely, THE African QUEEN is the simple story of pragmatic river-rat Charlie Allnut (Bogart) and high-minded Methodist missionary spinster Rose Sayer (Hepburn) who are thrown together by chance when German troops sweep through Africa during World War I. Once safely aboard his beat-up riverboat "The African Queen," Allnut desires nothing more than to dodge the Germans until war's end; Rose, however, determines to strike a blow against the Germans by sailing the boat downriver to attack a German battleship.
There are so many fine things about this movie that they are hard to innumerate. Filmed on location in the Congo, the cinematography is remarkably fine without being obtrusive; the script, which is at once subtle and very purposeful, has a remarkably natural tone; the two stars--who play the vast majority of the film alone together--give justly famous performances; and Huston's direction is so fine that we never feel even the slightest hint of directorial manipulation. As an adventure, it has a sense of realism that most adventure stories lack; as a character study it is remarkably detailed and finely wrought; as a love story, it is quite touching without engaging in common sentimentality. And it can be enjoyed by many people of diverse backgrounds and ages without the faintest qualm.
If you haven't seen THE African QUEEN in a while (or heaven forbid never seen it at all) don't take it for granted thinking you'll catch it sooner or later. Sit down with the film and watch it with fresh eyes. You'll be amazed.
Gary F. Taylor, aka GFT, Amazon Reviewer
That is a mistake. Based on the famous C.S. Forester novel, which it follows quite closely, THE African QUEEN is the simple story of pragmatic river-rat Charlie Allnut (Bogart) and high-minded Methodist missionary spinster Rose Sayer (Hepburn) who are thrown together by chance when German troops sweep through Africa during World War I. Once safely aboard his beat-up riverboat "The African Queen," Allnut desires nothing more than to dodge the Germans until war's end; Rose, however, determines to strike a blow against the Germans by sailing the boat downriver to attack a German battleship.
There are so many fine things about this movie that they are hard to innumerate. Filmed on location in the Congo, the cinematography is remarkably fine without being obtrusive; the script, which is at once subtle and very purposeful, has a remarkably natural tone; the two stars--who play the vast majority of the film alone together--give justly famous performances; and Huston's direction is so fine that we never feel even the slightest hint of directorial manipulation. As an adventure, it has a sense of realism that most adventure stories lack; as a character study it is remarkably detailed and finely wrought; as a love story, it is quite touching without engaging in common sentimentality. And it can be enjoyed by many people of diverse backgrounds and ages without the faintest qualm.
If you haven't seen THE African QUEEN in a while (or heaven forbid never seen it at all) don't take it for granted thinking you'll catch it sooner or later. Sit down with the film and watch it with fresh eyes. You'll be amazed.
Gary F. Taylor, aka GFT, Amazon Reviewer
Charlie Allnut is the Captain of The Queen, quite dishevelled and bedraggled but he ain't mean, keeps two missionaries informed, of how the world has been transformed, it's not too long before just one will leave the scene. As they escape along the river plans are hatched, to send torpedoes to a gunboat and dispatch, on their journey gin is taken, buckled shafts are warmed then straightened, it's not long before they make the perfect match. A short sojourn into the reeds causes distraction, but not long after heavy rain causes abstraction, as the enemy is spotted, the pair remain fully besotted, just goes to show that opposites, create attraction.
Great performances, great dialogue, great film.
Great performances, great dialogue, great film.
- Nazi_Fighter_David
- Aug 27, 2005
- Permalink
The African Queen is an entertaining film done in grand old Hollywood style, and it is probably the most conventional movie John Huston ever made. It's surprising though that people can call this movie one of the greatest of all time considering the hokey (and at times unbelievable) script and the awkward lack of chemistry between Bogart and Hepburn. Actually, that lack of chemistry creates some strangely funny moments which change the tone of this adventure story--sometimes for the better and sometimes for the worse. The two are never really believable as the characters they are playing, but they are still fun to watch as a couple of stars chewing up the scenery. Bogart's Academy Award for this performance is obviously a Revlon choice in that it makes up for his being overlooked for at least 10 better performances that he gave prior to this one. Huston's direction seems to lose focus in the last 10 minutes or so and the ending is very abrupt, but overall the film is briskly paced and painless. Also worth noting is the wonderful use of African locations as photographed by master cinematographer Jack Cardiff. If you want to see a better film with similar themes, check out Huston's far superior Heaven Knows, Mr. Allison.
John Huston directed this classic WWI romantic adventure that stars Humphrey Bogart as Riverboat Captain Charlie Allnut, an alcoholic and aging veteran of the river who is persuaded to lead pious Rose Sayer(played by Katharine Hepburn) by her missionary brother(played by Robert Morley) who is later beaten and left to die of fever by the German occupiers. Rose buries her brother, then sets out on the river journey, determined to avenge her brother's death(and do God's work) by tracking down and destroying a German submarine with a torpedo. Along the way, the mismatched couple connect and fall in love... Fine adventure with two perfectly cast stars at their best. Bogart won an overdue best actor Academy Award for his wonderful performance, with superb direction making this an authentic and memorable journey indeed, overcoming the predictable(yet believable) inevitability of the romance.
- AaronCapenBanner
- Nov 7, 2013
- Permalink
- LilyDaleLady
- Jun 19, 2005
- Permalink
Term "overrated"; it wouldn't be something I would attribute to a film usually as directed by John Huston and starring Humphrey Bogart (co-star Katherine Hepburn is another matter). But overtime this little piece of romantic fluff/saga of war-time daring-do has been called one of the greatest American films ever made. And for those who do love it, more power to them. It is a star vehicle first and foremost- and in 1951 if you were going to have two stars for the majority of the running-time these were the two to get- and die-hard fans can praise it as much as they want. But when it comes down to it, the film hasn't aged as well as one might think, and it goes without saying that what was really on Huston's mind during filming (hunting elephants) probably had something to do with the focus coming off of things like, erm, logic. It is a yarn, to be certain, and under the terms of what is "light-hearted" (in quotes because it has some dark undertones) it works out alright. But an all-time classic I think not.
For one thing- and I know I would get some arguing over this- the two stars don't really have that much chemistry. It doesn't help matters that cliché steers the ship; Bogart and Hepburns' characters, Charlie and Rosie, are going down a river where at first they can't stand one another as one is a drunkard on gin and the other is a prissy go-for-it-all who doesn't really see the consequences, AND whenever Bogie somehow gets the African Queen over some rapids she suddenly starts to fall in love with the guy. I don't buy it- when comparing to something like, say, the real McCoy in Bogie and McCall, it doesn't hold a candle. Hepburn, until maybe the second half when she changes gears only slightly, and depending on the risks in the scene, doesn't alter much in her personality. While it is, in a way, a good performance at playing someone who is shrill and prissy, it doesn't help make one care that much about her.
Meanwhile, Bogie is still a pro at what he does (though not Oscar-worthy pro, not up against Brando- the performance that really deserved it was In a Lonely Place, which is sour grapes of course long after the fact). He, and Huston's occasional outbursts of creativity in the simple framework of the script, do make it mildly entertaining; it's a good picture to probably check out on a rainy summer's weekend afternoon with lots of tea (or gin). And there's even a few fascinating bits with the dangers of going down a river in Africa, i.e. the swarming bugs and the leeches as they try and get the boat out of the mud. But by the time of the ending, when the 'what-the-hell' moment happens as the torpedo strikes at the ship at the most unlikely- yet most likely- of moments, I couldn't wait for the recently married to get off the screen. If you haven't seen a film by Huston or with Bogie or Hepburn, look elsewhere to start. If exotic locales and silly romantic river-boat adventure is your game, be my guest.
For one thing- and I know I would get some arguing over this- the two stars don't really have that much chemistry. It doesn't help matters that cliché steers the ship; Bogart and Hepburns' characters, Charlie and Rosie, are going down a river where at first they can't stand one another as one is a drunkard on gin and the other is a prissy go-for-it-all who doesn't really see the consequences, AND whenever Bogie somehow gets the African Queen over some rapids she suddenly starts to fall in love with the guy. I don't buy it- when comparing to something like, say, the real McCoy in Bogie and McCall, it doesn't hold a candle. Hepburn, until maybe the second half when she changes gears only slightly, and depending on the risks in the scene, doesn't alter much in her personality. While it is, in a way, a good performance at playing someone who is shrill and prissy, it doesn't help make one care that much about her.
Meanwhile, Bogie is still a pro at what he does (though not Oscar-worthy pro, not up against Brando- the performance that really deserved it was In a Lonely Place, which is sour grapes of course long after the fact). He, and Huston's occasional outbursts of creativity in the simple framework of the script, do make it mildly entertaining; it's a good picture to probably check out on a rainy summer's weekend afternoon with lots of tea (or gin). And there's even a few fascinating bits with the dangers of going down a river in Africa, i.e. the swarming bugs and the leeches as they try and get the boat out of the mud. But by the time of the ending, when the 'what-the-hell' moment happens as the torpedo strikes at the ship at the most unlikely- yet most likely- of moments, I couldn't wait for the recently married to get off the screen. If you haven't seen a film by Huston or with Bogie or Hepburn, look elsewhere to start. If exotic locales and silly romantic river-boat adventure is your game, be my guest.
- Quinoa1984
- Nov 2, 2007
- Permalink
I watched "The African Queen" after I read it was on the Top 250. I have never been so disappointed by a movie off the Top 250-list before.
The plot is totally unbelievable and predictable. I know it is based on a true story (very loosely I assume) but the script is just awful. It seems really unrealistic.
The love story is highly unbelievable and cheesy. The action sequences are horribly dated. I know that this movie is from the 50's but the "special effects" are hilariously bad. Catherine Hepburn's character is annoying from the first second on. Whatever she says (example: "Mister Allnut?!"; she says that at the beginning of every sentence...just annoying and stupid since there was no other person than him on the boat) or does (e.g.: with the booze). She plays one of the least likable characters in the history of cinema. The idea she comes up with, which is the idea of the whole movie, wow, just plain ridiculous. This movie sucks big time.
Uninteresting movie about a man and a woman, both without metabolism, going on a boat trip to attack a battleship with their small boat.
* 4/10 *
The plot is totally unbelievable and predictable. I know it is based on a true story (very loosely I assume) but the script is just awful. It seems really unrealistic.
The love story is highly unbelievable and cheesy. The action sequences are horribly dated. I know that this movie is from the 50's but the "special effects" are hilariously bad. Catherine Hepburn's character is annoying from the first second on. Whatever she says (example: "Mister Allnut?!"; she says that at the beginning of every sentence...just annoying and stupid since there was no other person than him on the boat) or does (e.g.: with the booze). She plays one of the least likable characters in the history of cinema. The idea she comes up with, which is the idea of the whole movie, wow, just plain ridiculous. This movie sucks big time.
Uninteresting movie about a man and a woman, both without metabolism, going on a boat trip to attack a battleship with their small boat.
* 4/10 *
- GoD-s-LoNeLy-MaN
- Oct 26, 2006
- Permalink
A real gem of film-making! Bogart and Hepburn shine in this two-actors-adventure-movie and even without the breathtaking visual effects of todays' films, it outshines them in its simplicity and authenticity.
The plot is very good and straight and the situation where the two characters (polar opposites) interact is an eye candy for all film goers. Bogard's Oscar as well-deserved and Hepburn could won her fifth with that powerful performance. I consider the film a pioneer in war/jungle movies making and the fact that the "commandos" are so different (a Sunday school teacher and a drunk) makes it all the better.
If you have not seen it run and get it. You won't regret it.
The plot is very good and straight and the situation where the two characters (polar opposites) interact is an eye candy for all film goers. Bogard's Oscar as well-deserved and Hepburn could won her fifth with that powerful performance. I consider the film a pioneer in war/jungle movies making and the fact that the "commandos" are so different (a Sunday school teacher and a drunk) makes it all the better.
If you have not seen it run and get it. You won't regret it.
He loves his boat and knows the African river like his pocket. She loves her country and believes in accomplishment driven by faith and patriotism.
It's all natural that the two main protagonists of "The African Queen" turn the titular boat into the unsung heroine of a military deed, whose success is as improbable as the very thought that a straight-laced Methodist missionary spinster would fall in love with a coarse, rudimentary and gin-soaked mailman, but not so when the romance serves as the very fuel of that mission, and when it's Humphrey Bogart, Katharine Hepburn and John Huston on the lead: the miracle of "The African Queen", as movie and story, is the result of three immense talents confidently maneuvering in the same direction.
Film historian and critic Richard Schickel said about Hepburn that her secret appeal relied on the characters she usually played: "a woman on her high horse with slightly pretentious, often comically stated ideas about the world. It was for men to bring her down and get her to reveal herself as quite a good gal, sporty and democratic" generally, the task would fall to "slightly rough-necked and good-natured male" But for once, "The African Queen" provides an interesting twist to the usual formula, because it's Rose who gets Charlie on her horse. The effect is even greater because it forces Bogart to abandon his tough-guy facade, and (for once again) play a man who tries to please a woman.
Huston's "Treasure of the Sierra Madre" had already demonstrated a new range of versatility in Bogart's acting, but even as the anti-heroic Fred C. Dobbs, Bogart was exuding a threatening toughness; as Allnut, it's a new step on his career, as a more lovable kind of loser, in a performance that will earn him an Oscar for Best Actor (Hepburn, Huston and James Agee for the screenplay will also be nominated). The word 'loser' might sound too harsh, but it's still better than coward, which seems to fit Allnut's initial plan to avoid trouble and hide in a spot with enough supply of gin, waiting for that worldwide war (the first) to stop. Too bad for him, he's got Hepburn aboard, an iron-lady who followed her bother (Robert Morley) in German East Africa only to witness the efforts of a lifetime being burned down by the Kaiser's army, a fatal shock for the brother.
But Rose is stronger than her ill-fated brother and when she accepts to set off aboard "The African Queen", she's most determined to be part of the conflict, not in the victim's departments. And the glorious boat, becomes the unlikely arena of two one dominant and one dominated spirit in Allnut, treating Rose as a lady, until he finds out that she's not a passive and fear-stricken female observer. It's indeed Rose who suggests the idea of building a torpedo, out of oxygen cylinders and inflammable material, to destroy a German ship blocking the way to British ships from a lake downriver. Allnut argues that it's going to a certain death, they'll have to navigate along a German fort, to negotiate a few rapids, to get mired on mud across dense reeds, their chances of survival are mighty slim. An unflappable Rose then confronts Allnut to his own responsibilities as both a man, and a Canadian subject of the Union Jack brandished by the boat, and Allnut, not to lose face, accepts with reluctance.
But we know it's a matter of time before Rose drives Allnut all nut, he finally gives himself a little one-to-one gin-soaked party, driving enough anger to finally take his promise back, disappointing his distinguished and courageous host. He wakes up with one hell of a hangover and all his emptied bottles floating on the river; trying to make amends from his behavior, he explains that his drinking is only expression of human nature, to which he gets the greatest cinematic come-back ever "nature, Mr Allnut is what we're put in this world to rise above", and the line resonates as the film's motto. It's never about what we have at hands, but what we can build on it. Rosie ignites the fire of bravery in Allnut, and the exhilarating cross of the first obstacles lead to the victorious embrace, sealing the existence of a love that got from one heart to the other, through a taped adrenalin-filled boiler hose, and a few rows as tumultuous as the rapids.
This is not Hollywood corny romantic comedy; this is John Huston confronting two genuine characters one another, an inspirational believer and a practical technician, both combining their strengths for survival and accomplishment. Katharine Hepburn might play her usual 'strong woman' role but she's never mean-spirited. On the other hand, Bogie is clearly in love with his 'Rosie', he admires her and can see that she's changing him for the better, it's not just about forming a couple, but being a team, not just about being a team, but improving, for love and for duty, whether for sharing a tent during under a heavy storm, to fix a propeller underwater or to even accept that God is still the one who has the last word.
That's "The African Queen": thrilling, romantic, inspiring, starring the two stars, honored by the American Film Institute as the greatest screen legends, Bogart and Hepburn, in interactions full of comedy given the opposition of their personalities and a believable chemistry built on trust, incentive and partnership, this is not 'holding-hands' heroism à la "Titanic", each step is tackled with technical precision. Which makes the climactic duel with the Germans a bit less realistic by contrast but this is another aspect of Hollywood's immortal classics, sometimes; every single element has not to be taken seriously for a triumphal ending.
Indeed, when you have great actors, great writing and great director on the tiller, the story can surely navigate its way to legend.
It's all natural that the two main protagonists of "The African Queen" turn the titular boat into the unsung heroine of a military deed, whose success is as improbable as the very thought that a straight-laced Methodist missionary spinster would fall in love with a coarse, rudimentary and gin-soaked mailman, but not so when the romance serves as the very fuel of that mission, and when it's Humphrey Bogart, Katharine Hepburn and John Huston on the lead: the miracle of "The African Queen", as movie and story, is the result of three immense talents confidently maneuvering in the same direction.
Film historian and critic Richard Schickel said about Hepburn that her secret appeal relied on the characters she usually played: "a woman on her high horse with slightly pretentious, often comically stated ideas about the world. It was for men to bring her down and get her to reveal herself as quite a good gal, sporty and democratic" generally, the task would fall to "slightly rough-necked and good-natured male" But for once, "The African Queen" provides an interesting twist to the usual formula, because it's Rose who gets Charlie on her horse. The effect is even greater because it forces Bogart to abandon his tough-guy facade, and (for once again) play a man who tries to please a woman.
Huston's "Treasure of the Sierra Madre" had already demonstrated a new range of versatility in Bogart's acting, but even as the anti-heroic Fred C. Dobbs, Bogart was exuding a threatening toughness; as Allnut, it's a new step on his career, as a more lovable kind of loser, in a performance that will earn him an Oscar for Best Actor (Hepburn, Huston and James Agee for the screenplay will also be nominated). The word 'loser' might sound too harsh, but it's still better than coward, which seems to fit Allnut's initial plan to avoid trouble and hide in a spot with enough supply of gin, waiting for that worldwide war (the first) to stop. Too bad for him, he's got Hepburn aboard, an iron-lady who followed her bother (Robert Morley) in German East Africa only to witness the efforts of a lifetime being burned down by the Kaiser's army, a fatal shock for the brother.
But Rose is stronger than her ill-fated brother and when she accepts to set off aboard "The African Queen", she's most determined to be part of the conflict, not in the victim's departments. And the glorious boat, becomes the unlikely arena of two one dominant and one dominated spirit in Allnut, treating Rose as a lady, until he finds out that she's not a passive and fear-stricken female observer. It's indeed Rose who suggests the idea of building a torpedo, out of oxygen cylinders and inflammable material, to destroy a German ship blocking the way to British ships from a lake downriver. Allnut argues that it's going to a certain death, they'll have to navigate along a German fort, to negotiate a few rapids, to get mired on mud across dense reeds, their chances of survival are mighty slim. An unflappable Rose then confronts Allnut to his own responsibilities as both a man, and a Canadian subject of the Union Jack brandished by the boat, and Allnut, not to lose face, accepts with reluctance.
But we know it's a matter of time before Rose drives Allnut all nut, he finally gives himself a little one-to-one gin-soaked party, driving enough anger to finally take his promise back, disappointing his distinguished and courageous host. He wakes up with one hell of a hangover and all his emptied bottles floating on the river; trying to make amends from his behavior, he explains that his drinking is only expression of human nature, to which he gets the greatest cinematic come-back ever "nature, Mr Allnut is what we're put in this world to rise above", and the line resonates as the film's motto. It's never about what we have at hands, but what we can build on it. Rosie ignites the fire of bravery in Allnut, and the exhilarating cross of the first obstacles lead to the victorious embrace, sealing the existence of a love that got from one heart to the other, through a taped adrenalin-filled boiler hose, and a few rows as tumultuous as the rapids.
This is not Hollywood corny romantic comedy; this is John Huston confronting two genuine characters one another, an inspirational believer and a practical technician, both combining their strengths for survival and accomplishment. Katharine Hepburn might play her usual 'strong woman' role but she's never mean-spirited. On the other hand, Bogie is clearly in love with his 'Rosie', he admires her and can see that she's changing him for the better, it's not just about forming a couple, but being a team, not just about being a team, but improving, for love and for duty, whether for sharing a tent during under a heavy storm, to fix a propeller underwater or to even accept that God is still the one who has the last word.
That's "The African Queen": thrilling, romantic, inspiring, starring the two stars, honored by the American Film Institute as the greatest screen legends, Bogart and Hepburn, in interactions full of comedy given the opposition of their personalities and a believable chemistry built on trust, incentive and partnership, this is not 'holding-hands' heroism à la "Titanic", each step is tackled with technical precision. Which makes the climactic duel with the Germans a bit less realistic by contrast but this is another aspect of Hollywood's immortal classics, sometimes; every single element has not to be taken seriously for a triumphal ending.
Indeed, when you have great actors, great writing and great director on the tiller, the story can surely navigate its way to legend.
- ElMaruecan82
- Oct 29, 2013
- Permalink
This is almost strictly a two-person movie with Humphrey Bogart and Katharine Hepburn dominating the story and screen time. It's a likable classic film because of those two famous actors, a nice romance, good adventure and even some comedy thrown in to the mix. I'm shocked a well-known film with these actors still isn't available on DVD in Region 1, as of late 2006.
The two actors squabble in the beginning but I like the fact that the film didn't go on too long in that regard as they did in many old-time battle-of-the-sexes movies. The story also a little unusual in that neither lead actor is in his/her prime, meaning it's almost a middle-age romance story.
Once they become enamored with each other, the movie mainly goes into the trials the two have in piloting this boat, "The African Queen" down river with the goal of reaching a German ship and blowing it up. Yes, it's a World War II movie, of sorts.
To be honest, the film does slow down a bit in the beginning of Bogie and Hepburn's romance but the last 30 minutes finish strong with one obstacle after another hitting the pair of adventurers, and it's interesting to watch.
The two actors squabble in the beginning but I like the fact that the film didn't go on too long in that regard as they did in many old-time battle-of-the-sexes movies. The story also a little unusual in that neither lead actor is in his/her prime, meaning it's almost a middle-age romance story.
Once they become enamored with each other, the movie mainly goes into the trials the two have in piloting this boat, "The African Queen" down river with the goal of reaching a German ship and blowing it up. Yes, it's a World War II movie, of sorts.
To be honest, the film does slow down a bit in the beginning of Bogie and Hepburn's romance but the last 30 minutes finish strong with one obstacle after another hitting the pair of adventurers, and it's interesting to watch.
- ccthemovieman-1
- Oct 25, 2006
- Permalink
Okay, so I admit that "The African Queen" is pure escapism, but you gotta love it. Katharine Hepburn plays Rose Sayer, a prim and proper missionary in German East Africa with her brother (Robert Morley) in 1914. Suddenly, right after they receive news that war has broken out in Europe, the German army comes in and demolishes their settlement. After the brother dies, hard-drinking stubbly sailor Charlie Allnut (Humphrey Bogart) comes in and agrees to take Rose down the river. Along the way, they bicker about various things (she's disgusted by his drinking, he finds her too pious), but they grow to respect each other.
Bogart and Hepburn pretty much play their usual roles, and the movie also stars a few crocodiles (most of the movie was filmed on location in Africa). The portrayal of the German army certainly seems to be an allusion to the Nazis. But overall, the movie is quite admirable, with Rose's and Charlie's personalities bouncing off of each other. It's like an early buddy comedy, even though it's serious.
Bogart and Hepburn pretty much play their usual roles, and the movie also stars a few crocodiles (most of the movie was filmed on location in Africa). The portrayal of the German army certainly seems to be an allusion to the Nazis. But overall, the movie is quite admirable, with Rose's and Charlie's personalities bouncing off of each other. It's like an early buddy comedy, even though it's serious.
- lee_eisenberg
- May 15, 2005
- Permalink
This is the great classic movie it is often claimed to be , being impossible to deny its entertainment and thought-provoking value . A witty screenplay by James Agee and John Huston himself from C.S. Forester's novel and glimmer color cinematography raise this interesting and amusing story . Not-to be-missed this Huston movie made on location in dangerous , risked environments and under testing conditions . In Africa during World War I, after Bible-thumping spinster's (Hepburn) missionary brother (Robert Morley) is dead by fevers , a hard-drinking , sympathetic , gin-swigging riverboat captain (Bogart) is persuaded by her to use his boat and undertake a risked trip down African wild rivers . Not satisfied with sanctuary, Rose proposes him blocking German advance by attacking and trying to sink an enemy warship. Their trying odyssey downriver , of course, gradually sees the two incompatible falling in love . Along the way , and their time alone on the African rivers turn aversion and mistrust into comradeship and love , a transition effectively counterpointed by the continuing intrigue of their daring assignment. Bogart the King is back with the 'Queen!' . The mightiest adventure ever filmed . Actually filmed in the savage splendor and dangers of the Belgian Congo . The greatest adventure a man ever lived with a woman . As Rose says the following words : Nature is what we are put in this world to rise above .
Richly characterized film , this is a throughly agreeable movie . Both protagonists , Bogart and Hepburn , spend most of their time battling each other and facing off aquatic obstacles . Classy war of sexes screenplay adapted from known novel by C.S. Forester makes marvellous use of enjoyable humor and natural as well as sparking dialogue . However , Forester novel ends in John Huston style , as protagonists fail their attempt to destroy the warship . The always detached Humphrey Bogart is top-notch as a cowardly riverboat captain who is persuaded by a stern lady to carry out a dangerous voyage offering her safe passage . And top-drawer Katharina Hepburn as a strait-laced missionary . They are accompanied by a good support cast , giving brief but charming performances , such as : Theodore Bikel , Walter Gotell , Peter Bull and special mention for Robert Morley . The shimmer photography in Technicolor by the great cameraman Jack Cardiff , the intelligent script , musical score by Allan Gray and gorgeous African exteriors help to counteract the basically implausible and contrived nature of the tale . Being shot on location in various African and European countries such as : Budongo Forest, Democratic Republic Of Congo , then called Congo Belgian , Lake Albert, Uganda Ruiki River, Democratic Republic Of Congo , Biondo , Kabalega Falls, Kabalega Falls National Park, Uganda and Isleworth Studios, London Road, Isleworth, Middlesex, England, UK Worton Hall Studios, Isleworth , UK and Los Angeles, California, USA
It contains an attractive script by John Agee , John Huston and Paul Viertel , Deborah Kerr's husband , he published in 1953 a novel titled : White hunter , Black hunter , describing the shooting incidents and many years later adapted by Clint Eastwood with Eastwood himself as Huston and Jeff Fahey . Being well produced by Horizon Pictures a production company created by Huston and Sam Spiegel , and the British Romulus Film . Forester novel copyright was bought by Warner Bros that to be thought to hire as protagonists : Charles Laughton-Elsa Lancaster , and later on , the couple : David Niven-Bette Davis , and subsequently : Paul Henreid-Ida Lupino . Finally , the roles went to Bogart-Hepburn . The film was nominated to screenplay and Hepburn was also nominated for an Academy Award for her splendid portrayal of the stiff-upper-lip and rasp-tongued spinster who gradually developes mellower feelings forward her drunk , rugged companion . Bogart , at last ,won the Academy Award he deserved for his stunning portrayal of the alcohol-soaked riverboat captain
Richly characterized film , this is a throughly agreeable movie . Both protagonists , Bogart and Hepburn , spend most of their time battling each other and facing off aquatic obstacles . Classy war of sexes screenplay adapted from known novel by C.S. Forester makes marvellous use of enjoyable humor and natural as well as sparking dialogue . However , Forester novel ends in John Huston style , as protagonists fail their attempt to destroy the warship . The always detached Humphrey Bogart is top-notch as a cowardly riverboat captain who is persuaded by a stern lady to carry out a dangerous voyage offering her safe passage . And top-drawer Katharina Hepburn as a strait-laced missionary . They are accompanied by a good support cast , giving brief but charming performances , such as : Theodore Bikel , Walter Gotell , Peter Bull and special mention for Robert Morley . The shimmer photography in Technicolor by the great cameraman Jack Cardiff , the intelligent script , musical score by Allan Gray and gorgeous African exteriors help to counteract the basically implausible and contrived nature of the tale . Being shot on location in various African and European countries such as : Budongo Forest, Democratic Republic Of Congo , then called Congo Belgian , Lake Albert, Uganda Ruiki River, Democratic Republic Of Congo , Biondo , Kabalega Falls, Kabalega Falls National Park, Uganda and Isleworth Studios, London Road, Isleworth, Middlesex, England, UK Worton Hall Studios, Isleworth , UK and Los Angeles, California, USA
It contains an attractive script by John Agee , John Huston and Paul Viertel , Deborah Kerr's husband , he published in 1953 a novel titled : White hunter , Black hunter , describing the shooting incidents and many years later adapted by Clint Eastwood with Eastwood himself as Huston and Jeff Fahey . Being well produced by Horizon Pictures a production company created by Huston and Sam Spiegel , and the British Romulus Film . Forester novel copyright was bought by Warner Bros that to be thought to hire as protagonists : Charles Laughton-Elsa Lancaster , and later on , the couple : David Niven-Bette Davis , and subsequently : Paul Henreid-Ida Lupino . Finally , the roles went to Bogart-Hepburn . The film was nominated to screenplay and Hepburn was also nominated for an Academy Award for her splendid portrayal of the stiff-upper-lip and rasp-tongued spinster who gradually developes mellower feelings forward her drunk , rugged companion . Bogart , at last ,won the Academy Award he deserved for his stunning portrayal of the alcohol-soaked riverboat captain
African Queen is a bit odd to me. Sometimes it plays like a capital-I "Important" movie, with its cinematography, performances and setting. At others, it's as light as a feather, especially in the jarringly corny and somewhat forced romance. Still, there's an ineffable joy to watching two titans work together so confidently and with such strong characters, and a better-than-expected ending.
- matthewssilverhammer
- Aug 28, 2018
- Permalink
WW1, East Africa, after her brother is killed by invading German troops, Rose Sayer is reliant on gruff steamboat captain, Charlie Allnut, to ferry her safely out of harms way and back to civilisation. Trouble is is that they are poles apart in ideals and ways, she is a devoted missionary, he a hard drinking tough nut with a glint in his eye. Yet as they venture further down the river, an unlikely alliance is starting to form, both in personalities and a keenness to give it to the Germans!
It's probably something of a given that The African Queen was starting with an advantage from the very first cry of action! Because to have Humphrey Bogart and Katharine Hepburn as your lead actors is not to be sniffed at, whilst also having John Huston directing is stacking the odds heavily in your favour. Thankfully history and time show us that all involved in this piece crafted a most delightful and exciting picture, yet it triumphs more as an intriguing picture than merely a meeting of Hollywood giants. Adapted by Huston and James Agee from the novel by C.S. Forester, it's believed that the original intention was to film it as an outright drama, but whether by star design or a going with the flow attitude, the picture turned out to be a drama fused with splices of humour, the kind where the tongue gets firmly stuck in the cheek.
As character pieces go, The African Queen has few peers, especially in the pantheon of 50s cinema, then you add the excellent story to work from, with the location work in Congo and Uganda expertly utilised by Huston (clearly revelling in the mix) and his photographer, Jack Cardiff. Then there is that magical flow, just as The African Queen (the boat itself) is flowing down the river, so does the film effortlessly glide along without pretentious posturing, screaming out that this is as a humane a story as you are likely to witness again. Some cynical reviewers will point to the dated studio filmed segments as a reason why this film shouldn't be termed a classic amongst classics, but really it's only an issue if you want it to dim your appreciation of the splendour from every other frame. From Bogart and his wry or humorous expressions, to Hepburn and the art of acting prim, this is a pure joy and justly it deserves to make all those lists containing greatest films of all time. 10/10
It's probably something of a given that The African Queen was starting with an advantage from the very first cry of action! Because to have Humphrey Bogart and Katharine Hepburn as your lead actors is not to be sniffed at, whilst also having John Huston directing is stacking the odds heavily in your favour. Thankfully history and time show us that all involved in this piece crafted a most delightful and exciting picture, yet it triumphs more as an intriguing picture than merely a meeting of Hollywood giants. Adapted by Huston and James Agee from the novel by C.S. Forester, it's believed that the original intention was to film it as an outright drama, but whether by star design or a going with the flow attitude, the picture turned out to be a drama fused with splices of humour, the kind where the tongue gets firmly stuck in the cheek.
As character pieces go, The African Queen has few peers, especially in the pantheon of 50s cinema, then you add the excellent story to work from, with the location work in Congo and Uganda expertly utilised by Huston (clearly revelling in the mix) and his photographer, Jack Cardiff. Then there is that magical flow, just as The African Queen (the boat itself) is flowing down the river, so does the film effortlessly glide along without pretentious posturing, screaming out that this is as a humane a story as you are likely to witness again. Some cynical reviewers will point to the dated studio filmed segments as a reason why this film shouldn't be termed a classic amongst classics, but really it's only an issue if you want it to dim your appreciation of the splendour from every other frame. From Bogart and his wry or humorous expressions, to Hepburn and the art of acting prim, this is a pure joy and justly it deserves to make all those lists containing greatest films of all time. 10/10
- hitchcockthelegend
- Dec 31, 2008
- Permalink
African Queen (1951)
Humphrey Bogart is his gritty flawless best here--as funny as he gets, and as bitter, tired, and leach covered. That's enough to sustain any movie, and toss in that his friend and fellow manly-man John Huston directed, we have a brutally physical, man-against-nature and man-against-himself film. This is the Bogart of The Treasure of the Sierra Madre (1948), where Huston and he again create a character that is as three-dimensional, compelling, repugnant, and cutting as they get. And unlike Treasure, the public and the academy responded well. He won Best Actor in 1952.
Katherine Hepburn is another story, and why she was cast for this film I'm not sure (she was chosen before Bogart, and choosing Bogart was her idea). I'll guess it's because she is so physical and fearless, a perfect tomboy in church marm clothes. She overcomes the stiffness of her part by sheer presence, but also, eventually, by her getting tough and dirty, too. She becomes less the preacher's sister and more the pioneer woman caught in the middle of World War I in Africa. She had a rough time during the location shoots, getting sick and losing a lot of weight, so some of her gaunt appearance is not acting one bit.
The arrival of the Germans in two main scenes may have seemed necessary in post war American (though a different German-inspired world war). But it enters the movie at first as a curiosity and a necessity, to drive the two characters down the raging river. The second time is near the end, and it turns the movie into a farce. It's the bizarre tone of the ending that throws the movie out of balance. The sudden lighthearted, improbable, and almost goofy turn, so at odds with the rest of the drama (even at odds with the sincerely funny humor earlier on), makes you wonder, after it's over, whether the whole movie was meant to be a kind of excessive satire. If so, I missed it, and might need to see it again to read it differently.
But taking it as a high adventure where two unlikely people are stuck having to depend on each other to survive, the movie still stutters. The wildlife shots (from the bow, supposedly) make it a Discover Channel safari at times. The home brew fix-it scenes are interesting but scarcely believable (he welds a metal prop for his boat with a charcoal fire on the beach, for starters). And the key scenes, the second most famous (after the leach scene, which is pretty amazing), are the running the rapids. This occurs several different times, and we have a mixture of actual shots, backscreen shots, and faked shots using a scale model in a studio in England, the boat and stiff dummies shooting down the water unguided and with a fast motion peculiarity. It's almost comical, and I took it as "the best they could do" for the time, and didn't let it bother me.
Now, after the end, I'm wondering if they (Huston et al) never really wanted believability to be an issue. It is more a fable, an entertainment. Yet it seems hard to reconcile with the hype and the extremes required to shoot it. African Queen does have two of the most legendary actors of their time, and it takes location shooting to a new height, and it is a spectacular idea. I didn't know what to think by the end. Was I disappointed? Yes. Was I glad to have seen it? Absolutely. Now that it's finally out on DVD in the U.S. (and Blu-Ray, both very high quality), you should see it, too.
Humphrey Bogart is his gritty flawless best here--as funny as he gets, and as bitter, tired, and leach covered. That's enough to sustain any movie, and toss in that his friend and fellow manly-man John Huston directed, we have a brutally physical, man-against-nature and man-against-himself film. This is the Bogart of The Treasure of the Sierra Madre (1948), where Huston and he again create a character that is as three-dimensional, compelling, repugnant, and cutting as they get. And unlike Treasure, the public and the academy responded well. He won Best Actor in 1952.
Katherine Hepburn is another story, and why she was cast for this film I'm not sure (she was chosen before Bogart, and choosing Bogart was her idea). I'll guess it's because she is so physical and fearless, a perfect tomboy in church marm clothes. She overcomes the stiffness of her part by sheer presence, but also, eventually, by her getting tough and dirty, too. She becomes less the preacher's sister and more the pioneer woman caught in the middle of World War I in Africa. She had a rough time during the location shoots, getting sick and losing a lot of weight, so some of her gaunt appearance is not acting one bit.
The arrival of the Germans in two main scenes may have seemed necessary in post war American (though a different German-inspired world war). But it enters the movie at first as a curiosity and a necessity, to drive the two characters down the raging river. The second time is near the end, and it turns the movie into a farce. It's the bizarre tone of the ending that throws the movie out of balance. The sudden lighthearted, improbable, and almost goofy turn, so at odds with the rest of the drama (even at odds with the sincerely funny humor earlier on), makes you wonder, after it's over, whether the whole movie was meant to be a kind of excessive satire. If so, I missed it, and might need to see it again to read it differently.
But taking it as a high adventure where two unlikely people are stuck having to depend on each other to survive, the movie still stutters. The wildlife shots (from the bow, supposedly) make it a Discover Channel safari at times. The home brew fix-it scenes are interesting but scarcely believable (he welds a metal prop for his boat with a charcoal fire on the beach, for starters). And the key scenes, the second most famous (after the leach scene, which is pretty amazing), are the running the rapids. This occurs several different times, and we have a mixture of actual shots, backscreen shots, and faked shots using a scale model in a studio in England, the boat and stiff dummies shooting down the water unguided and with a fast motion peculiarity. It's almost comical, and I took it as "the best they could do" for the time, and didn't let it bother me.
Now, after the end, I'm wondering if they (Huston et al) never really wanted believability to be an issue. It is more a fable, an entertainment. Yet it seems hard to reconcile with the hype and the extremes required to shoot it. African Queen does have two of the most legendary actors of their time, and it takes location shooting to a new height, and it is a spectacular idea. I didn't know what to think by the end. Was I disappointed? Yes. Was I glad to have seen it? Absolutely. Now that it's finally out on DVD in the U.S. (and Blu-Ray, both very high quality), you should see it, too.
- secondtake
- Mar 26, 2010
- Permalink
In reference to Elentari's query about why this film appeared on TV in B&W - it was a common practice for early TV to have prints that were in B&W even if it was originally a color theatrical release - usually in the era before color TV - it would have been cheaper to produce B&W film prints. These were generally 16mm prints released to the TV studios in B&W. Some of these "TV Prints" still survive in collector's hands today. African Queen was made in the Technicolor process and all theatrical screenings would have been in color. Generally speaking it is possible to tell which (originally b&w prints) have been "colorised". They have an un-natural appearance about them, and there is a general repetition of the same color - example hats, coats, cars, all seem to the one shade of brown, or all vegetation seems to be the one shade of green. In artificial colorization prints there is not the subtle tonings of different shades of color associated with natural (original) color productions.
- milkshakeboom
- Sep 11, 2004
- Permalink
I don't know why this is regarded as a classic. Conventional, predictable, trite plot. Really just a straightforward adventure story, told in the usual linear fashion. No twists, no great hidden meanings of life exposed.
Direction is fairly conventional too. No great camera tricks. Great settings though.
Humphrey Bogart is fairly solid but Katharine Hepburn's character is irritating from the word go, and stays that way throughout. Found it hard to like her, so didn't.
In the end I think it is the names of the people involved - Humphrey Bogart, Katherine Hepburn, John Huston - rather than the quality of the movie that make people regard this so highly.
Direction is fairly conventional too. No great camera tricks. Great settings though.
Humphrey Bogart is fairly solid but Katharine Hepburn's character is irritating from the word go, and stays that way throughout. Found it hard to like her, so didn't.
In the end I think it is the names of the people involved - Humphrey Bogart, Katherine Hepburn, John Huston - rather than the quality of the movie that make people regard this so highly.