Trinity College School - Record Yearbook (Port Hope, Ontario Canada)

Page 21 text:

Key Largo Enigmatic Bogey plays Frank MacLeod, a W.W. II veteran disillusioned with ideal- ism and concerned only with his own wel- fare. He visits the Key Largo Hotel of Mr. Temple, whose son was killed in MacLeod ' s outfit. A group of mobsters was staying at the hotel . . . Johnny Rocco (Edward G. Robinson), a gang-lord exiled from the U.S., awaited a ‘shipment’ and the chance of return to power. However, a hurricane thwarted their plans, and they forced MacLeod to drive them to Cuba in a motorboat. He killed all of the thugs single-handedly and returned to Florida. Perhaps this was not Bogart ' s best, bu x Edward G. Robinson was formidable; ‘Curly’, ‘Angel ' and especially ' Toots’ were classic mugsters. Casablanca The immortal Bogey, sitting in a cor- ner, nursing a drink, a rolled cigarette dangling from his moistened lips, slurs that famous line - “Play it Sam, play it just one more time.’’ Bogart at his greatest, and Ingrid Berg- man at her most beautiful, together por- tray long-separated lovers in Nazi-oc- cupied Casablanca. Unfortunately for Bo- gart, Bergman is married, and her husband is known by the Nazis to be an underground leader. An emotionally jam-packed flick, Casa- blanca compares with the best of today’s films. A story of love, hate, fear and of one hardened cafe owner, it is powerful. As Bogey walks off into the dark and the end is upon us, the viewer has a tremen- dous urge to lift his glass and slowly slur, “Here’s looking at you, kid.”

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THE BOGART FILM FESTIVAL BOGEY’S BACK” Treasure Of The Sierra Madres Humphrey Bogart is not only an actor, but a whole mood - a gripping atmosphere, toughness and occasionally a spark of good. The low droning pitch of his voice is an amazingly in- fluencing role where he is part villian - part anti-hero. - part anti-hero. The tale is basically this: Humphrey Bogart and Tim Holt are bums in Central America. They meet an old prospector and somehow raise enough money to start a gold mining ex- pedition. The old prospector tends to be the hardiest of all the three and generally keeps the other two going. After much searching they find a mine location and start bringing out the gold. Two forces are against them, human greed, and the greed of the surrounding world. For these reasons they keep their gold, separate, and tell no one about the mine. After the trouble with the bandits, where an outsider who discovers their mine is killed, they stop mining because the seam is run- ning out. There is only one problem. The old prospector has helped some native Indians cure a child and they ask him to come to their camp. This leaves Bogart; he shoots his partner and moves along. He is captured and killed by the bandits who throw away the gold, while Tim Holt manages to get back to the Indians and is given medical care. They go off in pursuit of Bogart and find him dead after a bandit confesses and before the whole group are shot. The story closes with the prospector going back to live with the Indians. Huston directed the play magnificently and made it very believable in the way Bogart was over-come by his greed.

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This is Victor Vasarely, one of this cen- tury’s most influential contemporary art- ists. This theme is based on the concept of “hurling” the participant into the whirl- ing world of plasticity, and absorbing him in the geometrical unities of the elements. The freedom of the imagination expressed indirectly in his work has a similar syn- thetic effect on the observer -an almost loneliness of being. However, the content of Vasarely’sworks deals with geometrical graphics, “photo- graphisms” and architectonic synthesis of design. From the antithetic clash of black and white, to the careful blending of tones and hues in vibrant colors, Victor Vasarely has exploded his plasticism on the face of modern art, in a most individualistic manner. ART EXHIBIT -GRAPHICS Victor Vasarely “To say all I want to say in a few words, this presentation is my tribute tc the multitude, my sly salute to youth my admiration before the facts of progress my love of the sun . . .the color of the day, my faith in the plane: leaf, wall screen, from which the plastic phenomenor springs, my intention to universalize th is plasticity, my hope of seeing fulfilled tht right of all to material, sensorial and in tellectua! goods, and finally my convictior that to make men see is to make them joy ous and civilized.”