(Excerpt from The Gospel of Scarface, Chapter 1, “Shakespearean Villains”)
In The Big Sleep (1946) we see in Bogart’s face, in Bogart’s actions, the performer always thinking, which translates into the detective thinking all the time, insistent on dissipating the shroud of mystery that confronts him. Bogart’s best performances reveal an abstraction, a state of mind and feeling made manifest by a created, if limited pattern of movement and sound.
The destruction of this thinking mind, the loss of control of this detective, the descent into the emotional and psychological chaos of the gangster and the outlaw—who now becomes a full-fledged monster—is what Bogart achieves in John Huston’s The Treasure of Sierra Madre (1948). (more…)