Bogart was the son of a prominent surgeon and a commercial artist. He served in the United States Navy at the end of World War I, and after the war he began a stage career in New York City playing juvenile roles in drawing-room and country-house comedies. By the mid-1920s he had won a leading role in the comedy Cradle Snatchers (1925) and other plays, and the young actor with the distinctive lisp began receiving good notices from critics. He often played the ascot-wearing playboy or country-club fixture who seemingly frolicked through life in dinner jacket and tails, which is the ultimate irony in light of his later screen persona as the hard-bitten, world-weary man of few words. He is reported to have originated the classic line of the mindless society fellow: “Tennis, anyone?”
Bogart's Broadway success led to roles in two film shorts— The Dancing Town (1928) and Broadway's like That (1930)—and a contract with the Fox Film Corporation. His supporting roles in some 10 films made between 1930 and 1934 failed to make an impact, and the disillusioned Bogart returned to the Broadway stage. He scored his biggest triumph to date as the ruthless killer Duke Mantee in Robert Sherwood's The Petrified Forest (1936). He finally garnered some serious attention in Hollywood when Warner Bros. adapted the play for the screen the following year. Bogart spent the next five years playing numerous supporting roles—mostly gangster types—and occasional leading roles in B-films. His best pictures of this period are such films as Black Legion (1936), Marked Woman (1937), Dead End (1937), The Roaring Twenties (1939), and They Drive by Night (1940).
films in 1941 marked the turning point of Bogart's career. In
High Sierra he played a killer with a tortured soul and a sense
of morality—a departure from the one-dimensional thugs
he had portrayed earlier. His performance as detective Sam Spade
in The Maltese Falcon (1941), John Huston's adaptation of the
Dashiell Hammett detective thriller, helped make the film a classic.
He followed this with leading roles in such well-regarded films
as All Through the Night and Across the Pacific (both 1942) before
he was cast in what is perhaps his quintessential screen characterization,
that of cabaret owner Rick Blaine in Casablanca (1942). Despite
its hurried, chaotic production, begun when the script was only
half-finished, Casablanca is one of the best in moviemaking history;
it ranked second only to Orson Welles's Citizen Kane (1941) on
the American Film Institute's 1999 list of the top 100 American
films. Released just after America's entrance into World War
II, Casablanca's topicality and sentimental cynicism helped to
make it an enormous success. The film won the Oscar for best
picture, and Bogart's Oscar-nominated performance secured his
newfound status as Warners' top male star.
Bogart's screen persona was that of laconic reserve with the suggestion of complex underlying emotions. It was this duality that distinguished Bogart from other “tough guy” actors, who relied on swagger and bravado to convey their anger with the world; Bogart, conversely, employed cool detachment to suggest world-weariness. He often gave his most ruthless characters a slight hint of decency, whereas the heroes he portrayed often had a dark or vulnerable side. He succeeded in making cynicism an endearing quality.
After three troubled marriages, Bogart found lasting happiness when he wed actress Lauren Bacall in 1945. Their rapport was evident in their memorable onscreen pairings in To Have and Have Not, The Big Sleep, Dark Passage, and Key Largo. They teamed again for a well-received television adaptation of The Petrified Forest (1955) that also starred Henry Fonda and were planning another screen collaboration when Bogart died in 1957.
Although he was a popular actor during the 1940s and '50s, Bogart achieved the status of a legend after his death. In 1999 he was named the top male film star of the 20th century by the American Film Institute.
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