To Have and Have Not (1944)

Overview

To Have and Have Not is less an adaptation of Ernest Hemingway's novel than it is a smoky, stylized mood piece—part romance, part espionage, and all star chemistry. Directed by Howard Hawks, the film is remembered less for its convoluted resistance-plot and more for the sizzling debut of Lauren Bacall opposite Humphrey Bogart, igniting one of Hollywood’s most iconic real-life romances.

Set in the Caribbean during WWII, the film was clearly designed to emulate Casablanca (1942), and while the political stakes are more ambiguous and the storyline slighter, it trades narrative clarity for a moody, seductive atmosphere that’s undeniably compelling. It’s Hawksian through and through: cynical, cool, sharp, and anchored in charismatic performances and sharp dialogue.

Plot Summary

The story takes place in Vichy-controlled Martinique during World War II. Harry Morgan (Humphrey Bogart) is an American fisherman-for-hire who wants nothing to do with politics or war. He runs a charter boat and keeps a low profile with his alcoholic sidekick Eddie (Walter Brennan). But when he’s stiffed by a client and in desperate need of cash, Morgan is reluctantly pulled into aiding the French Resistance by smuggling Free French fighters.

Into this already volatile mix walks Marie "Slim" Browning (Lauren Bacall), a sultry, sharp-tongued drifter with a smoky voice and a mysterious past. Sparks fly immediately between Slim and Harry, but their romance is constantly interrupted by the political machinations brewing in the shadows.

Though Harry wants to stay neutral, he finds himself drawn deeper into resistance efforts—ultimately forced to choose between self-preservation and a cause bigger than himself. Along the way, he discovers what he’s really fighting for: love, loyalty, and maybe just a little bit of idealism.

Performances

Humphrey Bogart is at his effortless best. Playing another iteration of his classic antihero—gruff, cynical, morally ambiguous but ultimately honourable—Bogart slips into Harry Morgan with supreme confidence. His chemistry with Bacall practically sets the celluloid on fire. In this performance, Bogart is less the wounded romantic of Casablanca and more the sardonic tough guy who’s not above cracking a smirk or flipping a sardonic quip.

Lauren Bacall, in her screen debut at just 19, is a revelation. Cool, controlled, and absolutely magnetic, she exudes more poise and confidence than most actresses twice her age. Her legendary line—"You know how to whistle, don't you, Steve? You just put your lips together and... blow."—is a cinematic moment for the ages, dripping with innuendo and sheer star power.

Walter Brennan, as Eddie, provides comic relief tinged with tragedy. His portrayal of a loyal but pickled sidekick offers moments of pathos and warmth, anchoring Harry’s humanity.

Hoagy Carmichael, as the easy going piano player Cricket, adds musical interludes and contributes to the film’s smoky, jazz-club ambiance. His numbers, especially Bacall's sultry singing (dubbed, but effective), enhance the moody tone.

Direction & Style

Howard Hawks directs with the confidence of a man who understands that characters—and chemistry—matter more than plot. The film’s pacing is relaxed, even slow at times, but it never drags thanks to the dynamic interactions between characters. Hawks thrives on subtext, overlapping dialogue, and the suggestion of deeper emotions beneath the surface.

Visually, To Have and Have Not boasts gorgeous black-and-white cinematography by Sidney Hickox. The lighting is classic film noir—shadowy, low-key, atmospheric. Interiors are dim and smoky, giving the entire film a lush, languid aesthetic that mirrors its Caribbean setting and morally murky narrative.

The cinematography often frames Bogart and Bacall in tight, intimate close-ups, emphasizing their unspoken tension. The camera lingers on Bacall in a way that’s both glamorous and emotionally potent—Hawks knew he had lightning in a bottle and let it simmer.

Screenplay & Dialogue

While the plot is a loose patchwork (and deviates heavily from Hemingway’s novel), the dialogue crackles. The screenplay, shaped by William Faulkner and Jules Furthman, is clever, playful, and oozing subtext. There's a double entendre in nearly every exchange between Bogart and Bacall, but it never feels forced—it’s simply how these characters flirt, fight, and fall in love.

The romantic banter is the film’s secret weapon. More than bullets or boats, it’s the rhythm and tension of the talk that drives the narrative.

Themes & Subtext

Neutrality vs. Engagement: Like Casablanca, the film explores the reluctant hero drawn into political conflict. Harry starts out neutral, uninterested in “causes,” but gradually shifts toward engagement—not because of ideology, but because of personal connections.

Individualism vs. Community: Hawks often focused on groups of professionals working under pressure. Harry’s eventual decision to help the Resistance isn’t about idealism—it’s about loyalty to friends, about competence, and about choosing action over apathy.

Love as Redemption: The romance between Harry and Slim is more than flirtation. It becomes a symbol of emotional risk and the possibility of trust. Harry’s willingness to open up to Slim mirrors his willingness to take a moral stand.

Masculinity & Femininity: Slim is Hawks’s archetypal "Hawksian woman"—strong, witty, and able to hold her own among the men. Her coolness doesn’t make her cold; instead, it makes her equal. Their relationship is a dance of mutual respect and erotic tension.

Comparison to Casablanca

It's impossible not to compare To Have and Have Not to Casablanca, but while both films are about American expatriates caught in foreign political intrigue, To Have and Have Not is more intimate, less grandiose. There’s no tragic self-sacrifice here. Instead, the ending is optimistic, romantic, and stylishly low-key.

Where Casablanca is about duty and lost love, To Have and Have Not is about discovery—of love, of cause, and of self.

Legacy

To Have and Have Not is most famous for igniting the Bogart-Bacall legend, and rightly so. Their real-life romance began on set and adds an almost voyeuristic thrill to watching them fall for each other on screen. It also marked the start of one of classic Hollywood’s most stylish, dynamic partnerships (followed by The Big Sleep, Dark Passage, and Key Largo).

Beyond its iconic couple, the film stands as a mood piece—stylish, seductive, and brimming with understated tension. It’s less about what happens and more about how it feels. It doesn't aim for epic drama, but for smoky cool—and nails it.

Final Verdict

To Have and Have Not may not be Hemingway’s novel, or even a traditional wartime thriller, but it is a masterclass in mood, chemistry, and character-driven storytelling. It's less about espionage and more about how two people find each other in a world of shifting allegiances and shadowy motives.

Bogart and Bacall are electric, and Hawks’s direction keeps the film lean, stylish, and full of sly wit. If you’re looking for action-packed plot twists, look elsewhere—but if you want to soak in the atmosphere of sultry nights, flirtatious danger, and noir romance, To Have and Have Not is the perfect cinematic cocktail.

Would you like a breakdown of how it compares to The Big Sleep, or a deeper dive into Bacall’s debut and Hawks’s influence on her screen persona?