I usually try to
appreciate the context of the times before I label a film as "dated,"
but no matter how thought-provoking THE PETRIFIED FOREST might have
seemed in the 1930s, it just doesn't cut it for me any more. The
main problem is Leslie Howard's character of wandering poet Alan Squire
(dressed in tweed and smoking a pipe, in case you forget he's a
wandering poet), who spouts more pretentious blather than can be found
in the collected works of Rod McKuen. When he's indulging in
dime-store philosophy and yammering on about "I belong to a vanishing
race, I'm one of the intellectuals...Brains without purpose!
Noise without sound! Shape without substance!", I just want to
tweak his nose and dunk his tie in his soup. Bette Davis, usually
one of my favorite actresses, doesn't help matters by shouting most of
her lines without any apparent thought as to what she's saying.
It's Humphrey Bogart in his breakthrough role that makes the film
worthwhile for me, but even he was stronger playing similar gangster
characters in other films. I know THE PETRIFIED FOREST is
regarded as a classic by many, but I suggest checking out KEY LARGO, a
better telling of roughly the same story, minus the overwrought
drivel. I give it an extra star for being the film that gave
Bogey a career.
- JL