Key Largo 1948

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

— John Chard

A brilliant John Huston thriller with an unbeatable cast: Bogart, Bacall, Robinson, and Barrymore! It's neither amazing nor a secret as to why this classic noir will never get stale.

— Nutshell

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.

— barrymost

With an hurricane rapidly approaching, "Frank" (Humphrey Bogart) visits "Temple" (Lionel Barrymore) - the wheelchair-bound father of his late wartime buddy at his hotel only to find that it's temporarily under new management. "Johnny Rocco" (Edward G. Robinson) is a fleeing gangster and he's taken up residence while his escape is being organised. Needless to say there is a delicate dynamic at their hotel - with his friend's widow "Nora" (Lauren Bacall) treading on eggshells and Claire Trevor frequently stealing the scene as the drunken moll "Gaye". It's an hugely atmospheric thriller this. The sparing, pithily, delivered dialogue and the great use of the audio helps build this tension here aided by a strong effort from Barrymore; Bogart in his best less is more mode and Robinson doing what he did best - and here, quite effectively too. There's on-screen chemistry a plenty and a denouement that rounds things off with a deadly confrontation! Film-noir at it's best, this and if you can see it on a big screen then do.

— CinemaSerf