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Humphrey Bogart Bogart's unique star appeal has meant that his popularity has outshone that of contemporaries such as James Cagney and Edward G.Robinson. His ugly-handsome face is as well known today as it was at the height of his career. In 1929 he was spotted by a talent scout and given a year's contract with 20th Century Fox. Although his career proceeded to vacillate between the theatre and the cinema over the next few years, in 1936 he finally gave up the stage and began a profitable career as a supporting actor working for Warner Bros. Starting that year with The Petrified Forest (1936) supporting Leslie Howard and Bette Davis he proceeded to make a number of films over the next few years, the most notable being Crime School (1938) in which he played a liberal prison governor who established a humane relationship between his staff and troublesome young inmates. Bogart's first big break occurred in 1941 when director Raoul Walsh cast him in the lead in High Sierra (1941) after George Raft's rejection of the role. Several timeless classics followed such as The Maltese Falcon (1941), Casablanca (1942), To Have And Have Not (1944) and The Big Sleep (1946), Key Largo (1948) and The Treasure Of The Sierra Madre (1948) to name but a few. Unfortunately as a result of financial restrictions imposed on Warner Bros.' advertising department, many of the U.S. posters for Bogart films in the second world war period are rather dull and unimaginative. Collectors therefore tend to look for posters of their favourite star issued during this period in other parts of the world. The American one-sheet poster for Casablanca is a good example of this phenomenon depicting a two-colour image of the front page of a newspaper illustrated with different black and white scenes from the film and ignoring the film's wildly romantic story line, the theme which in contrast is taken up in full colour in the Belgian poster.
Casablanca

Details
Casablanca 1943, Warner Bros., Belgium - 22 x 14in. (55.9 x 35.6cm.), linen-backed, (A)
Literature
CAPITAINE/CHARLTON, L'Affice De Cinema, p.53
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