High Sierra Page #6

Synopsis: Roy 'Mad Dog' Earle is broken out of prison by an old associate who wants him to help with an upcoming robbery. When the robbery goes wrong and a man is shot and killed Earle is forced to go on the run, and with the police and an angry press hot on his tail he eventually takes refuge among the peaks of the Sierra Nevadas, where a tense siege ensues. But will the Police make him regret the attachments he formed with two women during the brief planning of the robbery.
Director(s): Raoul Walsh
Production: Warner Home Video
  3 wins.
 
IMDB:
7.6
Rotten Tomatoes:
94%
PASSED
Year:
1941
100 min
559 Views


- I keep thinking of Babe and Red.

- No use worrying about them.

If they didn't kick off,

the coppers have them.

- Do you think they'll talk?

- Lf they don't, Mendoza will.

Who cares? I'll turn that box

over to Mac in a couple of hours...

...and he'll hand me a wad of dough.

- Then we'll be all set, won't we, Roy?

Sure. You got quite a piece

of change coming to you.

And I'm gonna see that you get it

right away because I'll be blowing soon.

- Going back East, I guess.

- I'm going with you.

Oh, don't talk like a sap.

Stick with me, you'll never be

in anything but trouble.

Look, Roy, no matter what happens,

I'm sticking with you.

Don't think you'll check me

so easy.

Well, we'll see. Come on, let's go.

Come on, Pard.

But remember, if the going gets tough,

I'm gonna have to park you for a while.

I'm glad you said, "for a while. "

That makes me feel good.

Look, if I really get in your way,

you can park me.

Is that a deal?

It's a deal.

I won't be long.

- Hello, Earle.

- What are you doing here?

Mac sent for me. I flew out a few

days ago. Mighty sick man.

He collapsed last night.

He's asleep now.

Hey, you want to read about yourself?

Tough about the two guys, huh?

- It was their own fault.

- Well, their troubles are over.

- Both of them?

- Mendoza broke his collarbone.

Got knocked cold.

He'll be all right.

The police haven't identified

Babe and Red yet.

Let's show the stuff to Mac.

It might cheer him up.

- You got it in that shoebox?

- Yeah, and it sure is heavy.

Earle's here.

He clipped them for a half a million.

I came through for you.

You didn't spring me for nothing.

Wake up, Mac, wake up, Earle's here.

Hey, this guy is dead.

- He's what?

- He's dead.

Yeah, cold as a mackerel.

Kicked off in his sleep, I guess.

What are you gonna do

with the stuff?

Mac told me what to do

in case this happened.

- He had a feeling he'd never make it.

- Don't be a sap.

Mac's dead, and we're rich.

I can get a fence to handle this stuff.

Listen, chiseler, I'm still working

for him and so are you.

I'm gonna follow my instructions.

Use your head, man.

This is a chance of a lifetime.

You heard me.

Okay, maybe you're right.

Pico-7719.

Hello. This you, Art? This is Earle.

Mac's dead.

Yeah, he said in the letter to call you.

That you was to do the handling.

Nope. Nope. He just kicked off.

His heart.

Okay. Thanks.

Hand over that box, Earle.

You give me any trouble,

and I'll fill you full of lead.

I'd be reinstated

and get a medal besides.

Just what I told poor Mac,

a copper's always a copper.

Well, this stuff's pretty hot anyway.

Here it is.

- I was getting ready to look for you.

- Get in the car. Drive.

- Well, what's wrong, honey?

- Bullet nicked me.

Go to Vermont and turn right.

You're mighty lucky. A little higher,

it would have been curtains for you.

Oh, that stuff sure burns, Doc.

Tell me, Roy, did you really crack

them for 500 G's?

We can't tell yet.

They kick up the price after a heist...

...but I got plenty of rocks.

You'll have to trust me on the dough.

I only got about 50, 60 bucks.

Didn't get your cut yet?

That's all right...

...but I figure this is gonna

cost you about 500.

Five hundred's okay with me.

When I need help, I need it bad...

...and I'm willing to pay.

- What about Velma?

Oh, I don't know, Doc.

That was just one of them things.

- Is she walking pretty good now?

- Perfectly.

My surgeon friend

did a magnificent job.

You ought to see her.

Maybe I will look in.

I promised the old man I would anyway.

Well, you better be going now.

Make a right turn here.

What about getting rid of the stuff

in Santa Monica?

There's something I gotta do.

It'll only take a minute.

Velma?

I promised Pa I'd come back

and see her walk.

Fine time you picked to go calling.

- Can I go in with you?

- You stay in the car.

I'm only going in myself

because I promised the old man.

Yeah, I know. You said that.

My foot gets stronger all the time.

Don't you think I'm dancing better?

Sure, baby.

How about a little drink, huh?

Oh, no, Lon. You want me

to get dizzy again like last night?

- Think he'll be all right?

- Sure. Joe's a panic when he's tight.

You said it, boy. Listen, I was...

Now, look here. Now, look here.

I never was one to spoil a good time...

...but enough is enough.

That's what I say.

Oh, who's that now?

- Roy.

- Hello, Pa.

Well, is this a surprise.

Hello, Roy. Well, it's about time

you dropped in. Where've you been?

The family's out for a ride.

They'll be sorry they missed you.

Roy, this is Mr. Preiser. He's my...

He's from back home.

Hello, Roy. Velma's told me

a lot about you.

We had drinks to you

the other night.

- Did you?

- Yeah.

Oh, you haven't seen me dance yet.

My foot's all better now. Watch me.

Go on, Pard. Go get Roy. Go find him.

This is a fine party, letting a lady

dance by herself. Come on, baby.

I declare. Who's that now?

Pard, you bad dog, you.

Gee, I'm sorry, Roy. He jumped out of

the car before I knew what happened.

Oh, hello. You're Velma, aren't you?

- That's right.

- I'm Marie Garson, a friend of Roy's.

I feel as though I know you.

Roy has often told me how nice you are.

- Has he?

- Oh, say, that reminds me...

...you did a lot for Velma.

I ought to pay you back.

- After all, it's a lot of money.

- Forget it. Think nothing of it.

But I'd like you to take it.

After all, Lon and I are going to be

married very soon, and he can afford it.

Getting married?

- Well, that's fine.

- Yeah.

Yeah, that's swell.

Well, I guess I'll be on my way, Pa.

I'm going back East.

I just came in to say goodbye.

Let's have a drink together first, Roy.

You and your little girlie

and me and my little Velma.

Get your hands off me.

- I'm sorry. L...

- I don't like you.

I don't like the way you talk,

and I don't like your friends.

- I don't like to think of her marrying you.

- Come on, Roy.

You've got no right

to say such things.

Lon's gonna be my husband,

and I love him.

You're just jealous and mean because

I don't want you. I never wanted you.

- I'm sure sorry.

- Oh, it's all right.

Maybe it's just as well it happened

this way. Goodbye, Pa.

Goodbye.

Some nerve he had.

If it wasn't for you, dear,

I'd have punched him in the nose.

- You shouldn't have come in there.

- I had to, Roy.

You thought of her more than you

did me. I just wanted to know why.

You don't love her anymore, do you?

No.

If you weren't sure of it,

you wouldn't have asked me.

If I didn't know where they come from,

I'd think they was phony.

Poor old Mac.

There he was, laying there dead,

with a half a million bucks beside him.

Well, it's all yours,

and all I want is my cut.

You're gonna have to wait a few days

for that, Roy.

- What's that?

- Don't look at me.

My share you could put in your eye.

Larry's the headman...

...now that Mac's gone.

- Kansas City?

That's him.

He's flying out.

Now, you leave the stuff with me

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John Huston

John Marcellus Huston (; August 5, 1906 – August 28, 1987) was an Irish-American film director, screenwriter and actor. Huston was a citizen of the United States by birth but renounced U.S. citizenship to become an Irish citizen and resident. He returned to reside in the United States where he died. He wrote the screenplays for most of the 37 feature films he directed, many of which are today considered classics: The Maltese Falcon (1941), The Treasure of the Sierra Madre (1948), The Asphalt Jungle (1950), The African Queen (1951), The Misfits (1961), Fat City (1972) and The Man Who Would Be King (1975). During his 46-year career, Huston received 15 Oscar nominations, won twice, and directed both his father, Walter Huston, and daughter, Anjelica Huston, to Oscar wins in different films. Huston was known to direct with the vision of an artist, having studied and worked as a fine art painter in Paris in his early years. He continued to explore the visual aspects of his films throughout his career, sketching each scene on paper beforehand, then carefully framing his characters during the shooting. While most directors rely on post-production editing to shape their final work, Huston instead created his films while they were being shot, making them both more economical and cerebral, with little editing needed. Most of Huston's films were adaptations of important novels, often depicting a "heroic quest," as in Moby Dick, or The Red Badge of Courage. In many films, different groups of people, while struggling toward a common goal, would become doomed, forming "destructive alliances," giving the films a dramatic and visual tension. Many of his films involved themes such as religion, meaning, truth, freedom, psychology, colonialism and war. Huston has been referred to as "a titan", "a rebel", and a "renaissance man" in the Hollywood film industry. Author Ian Freer describes him as "cinema's Ernest Hemingway"—a filmmaker who was "never afraid to tackle tough issues head on." more…

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Submitted on August 05, 2018

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