Key Largo Essay: Related - Soundtracks of Cinema: ‘Heat’ In Key Largo, Bogart and Bacall’s relationship largely doesn’t turn towards the romantic, as the heat instead comes from Robinson’s snarling performance and the expressionistic camerawork by Karl Freund. In that film, also an entirely studio-bound affair, the heat and humidity is powered by the scorching chemistry between the protagonists. Their introduction onscreen, in Howard Hawks’ To Have and Have Not (1944), sees the pair fight Vichy France in colonial Martinique in the Caribbean. It’s not the only Bogart/Bacall picture where the pair are stranded on a tropical island. The impending hurricane turns the good guys into temporary hostages of Rocco’s gang, but also forms a crucible against which the other characters can respond to the threat of the main antagonist. There, he finds Rocco, a mafioso thought to be hiding out in Cuba, holed up with his gang waiting for a deal to take place, having forcibly hired out the entire hotel. Army veteran Frank McCloud, arrives to a Key Largo hotel to visit James and Nora Temple (Barrymore and Lauren Bacall, respectively), the father and widow of a deceased friend he fought alongside in WWII. Key Largo Essay: Related - Know the Cast & Characters: ‘Florida Man’ Amidst the sweat, stickiness, humidity and heat of south Florida, a hurricane arrives in the center of Key Largo as a cleansing force. Robinson’s sneering gangster, Johnny Rocco, of nature’s absolute power. It gets mentioned in Key Largo by a wheelchair-bound James Temple (Lionel Barrymore), hoping to remind Edward G. The most powerful hurricane to ever make landfall in recent American history, the Labor Day hurricane of 1935, hit the Keys particularly hard, killing some 400 people. Rising sea levels from climate breakdown threaten the area’s future the region has also long been susceptible to hurricanes in the rainy season from May to October. The Keys are a largely flat landscape of sea, sand, leisure hotels, fishing boats and mangrove swamps. Only a few establishing shots during the first act were produced in the Florida Keys, and there are brief images of a hurricane snippet out of the forgotten Ronald Reagan flick Night Unto Night (1949). John Huston’s 1948 film Key Largo is yet another classical Hollywood studio system film in which barely a single frame was shot on location. In any case, the movie’s impressionistic stylings suit studio filmmaking. Even the one studio-bound film that bucks this trend - Branded to Kill (1967) - was shot in and around Tokyo. Meanwhile, the non-US crime films make much greater use of real-life locations: actual Hong Kong for Time and Tide (2000), actual Paris in Bob le Flambeur (1956). Of this column’s US-based entrants, only Collateral (2004) - filmed and set entirely in Los Angeles - uses its real-life location as its filmic setting. Detour (1945), a west-to-east road trip, was shot entirely on backlots with a couple of B-roll sections out in California.

Pickup on South Street (1953), a famously quintessential New York film, had not a frame shot on location. filming on location, the dividing line tends to be American cinema versus non-American cinema. For this column, in terms of studio productions vs.

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