Humphrey DeForest Bogart (/'bo?g??rt/ BOH-gart; December 25, 1899 – January 14, 1957), nicknamed Bogie, was an American actor. His performances in classic Hollywood cinema made him an American cultural icon. In 1999, the American Film Institute selected Bogart as the greatest male star of classic American cinema.

Bogart began acting in Broadway shows. Debuting in film in "The Dancing Town" (1928), he appeared in supporting roles for more than a decade, regularly portraying gangsters. He was praised for his work as Duke Mantee in "The Petrified Forest" (1936). Bogart also received positive reviews for his performance as gangster Hugh "Baby Face" Martin in William Wyler's "Dead End" (1937).

His breakthrough came in "High Sierra" (1941), and he catapulted to stardom as the lead in John Huston's "The Maltese Falcon" (1941), considered one of the first great noir films. Bogart's private detectives, Sam Spade (in "The Maltese Falcon") and Philip Marlowe (in 1946's "The Big Sleep"), became the models for detectives in other noir films. In 1947, he played a war hero in another noir, "Dead Reckoning", tangled in a dangerous web of brutality and violence as he investigates his friend's murder, co-starring Lizabeth Scott. His first romantic lead role was a memorable one, as Rick Blaine, paired with Ingrid Bergman as Ilsa Lund in "Casablanca" (1942). Blaine was ranked as the fourth greatest hero of American cinema by the American Film Institute, and Blaine and Lund's romance the greatest love story in American cinema, also by the American Film Institute. Raymond Chandler, in a 1946 letter, wrote that: "Like Edward G. Robinson when he was younger, all he has to do to dominate a scene is to enter it."

44-year-old Bogart and 19-year-old Lauren Bacall fell in love during the filming of "To Have and Have Not" (1944). In 1945, a few months after principal photography for "The Big Sleep", their second film together, he divorced his third wife and married Bacall. After their marriage, they played each other's love interest in the mystery thrillers "Dark Passage" (1947) and "Key Largo" (1948). Bogart's performances in Huston's "The Treasure of the Sierra Madre" (1948) and Nicholas Ray's "In a Lonely Place" (1950) are now considered among his best, although they were not recognized as such when the films were released. He reprised those unsettled, unstable characters as a World War II naval-vessel commander in "The Caine Mutiny" (1954), which was a critical and commercial hit and earned him a third Academy Award nomination for Best Actor, following "Casablanca" and his win for his portrayal of a cantankerous river steam launch skipper opposite Katharine Hepburn's missionary in the World War I African adventure "The African Queen" (1951), another collaboration with Huston. Other significant roles in his later years included "The Barefoot Contessa" (1954) with Ava Gardner and his on-screen competition with William Holden for Audrey Hepburn in "Sabrina" (1954).

A heavy smoker and drinker, Bogart died from esophageal cancer in January 1957. "Casablanca", "The Maltese Falcon", "The Treasure of the Sierra Madre" and "The African Queen", made the American Film Institute's 1998 list of the greatest American movies of all time, with "Casablanca" ranked second. Regarding her husband's enduring popularity, Bacall later said: "There was something that made him able to be a man of his own, and it showed through his work. There was also a purity, which is amazing considering the parts he played. Something solid too. I think as time goes by, we all believe less and less. Here was someone who believed in something."



The 1940s
1949 – Tokyo Joe (Joe Barrett)
1949 – Knock on Any Door (Andrew Morton)
1948 – Key Largo (Frank McCloud)
1948 – The Treasure of the Sierra Madre (Fred C. Dobbs)
1947 – Dark Passage (Vincent Parry)
1947 – The Two Mrs. Carrolls (Geoffrey Carroll)
1947 – Dead Reckoning (Captain Warren ‘Rip’ Murdock)
1946 – The Big Sleep (Philip Marlowe)
1945 – Conflict (Richard Mason)
1944 – To Have and Have Not (Harry Morgan/Steve)
1944 – Passage to Marseille (Jean Matrac)
1943 – Sahara (Sgt. Joe Gunn)
1943 – Action in the North Atlantic (Lt. Joe Rossi)
1942 – The Big Shot (Joseph ‘Duke’ Berne)
1942 – Casablanca (Rick Blaine)
1942 – Across the Pacific (Rick Leland)
1942 – In This Our Life (Uncredited cameo appearance as Roadhouse owner)
1942 – All Through the Night (Alfred ‘Gloves’ Donahue)
1941 – The Maltese Falcon (Sam Spade)
1941 – The Wagons Roll at Night (Nick Coster)
1941 – High Sierra (Roy ‘Mad Dog’ Earle)
1940 – They Drive by Night (Paul Fabrini)
1940 – Brother Orchid (Jack Buck)
1940 – It All Came True (Chips Maguire/Mr. Grasselli)
1940 – Virginia City (John Murrell)

The 1950s
1956 – The Harder They Fall (Eddie Willis)
1955 – We’re No Angels (Joseph)
1955 – The Desperate Hours (Glenn Griffin)
1955 – The Left Hand of God (Jim Carmody)
1954 – The Barefoot Contessa (Harry Dawes)
1954 – Sabrina (Linus Larrabee)
1954 – The Caine Mutiny (Lt. Cmdr. Philip Francis Queeg)
1953 – Beat the Devil (Billy Dannreuther)
1953 – Battle Circus (Maj. Jed Webbe)
1952 – Deadline – U.S.A. (Ed Hutcheson, Managing Editor of The Day)
1951 – The African Queen (Charlie Allnut)
1951 – Sirocco (Harry Smith)
1951 – The Enforcer (Dist. Atty. Martin Ferguson)
1950 – Chain Lightning (Lt. Col. Matt Brennan)
1950 – In a Lonely Place (Dixon Steele)

The 1930s
1939 – Invisible Stripes (Chuck Martin)
1939 – The Return of Doctor X (Marshall Quesne)
1939 – The Roaring Twenties (George Hally)
1939 – The Old Maid (Clem Spender, replaced by George Brent, uncredited)
1939 – You Can’t Get Away with Murder (Frank Wilson)
1939 – Dark Victory (Michael O’Leary)
1939 – The Oklahoma Kid (Whip McCord)
1939 – King of the Underworld (Joe Gurney)
1938 – Angels with Dirty Faces (James Frazier)
1938 – The Amazing Dr. Clitterhouse (‘Rocks’ Valentine)
1938 – Men Are Such Fools (Harry Galleon)
1938 – Racket Busters (John ‘Czar’ Martin)
1938 – Crime School (Deputy Comm Mark Braden)
1938 – Swing Your Lady (Ed Hatch)
1937 – Stand-In (Doug Quintain)
1937 – Dead End (Baby Face Martin)
1937 – San Quentin (Joe ‘Red’ Kennedy)
1937 – Kid Galahad (Turkey Morgan)


1937 – Marked Woman (David Graham)
1937 – The Great O’Malley (John Phillips)
1937 – Black Legion (Frank Taylor)
1936 – Isle of Fury (Valentine ‘Val’ Stevens)
1936 – China Clipper (Hap Stuart)
1936 – Two Against the World (Sherry Scott)
1936 – Bullets or Ballots (Nick ‘Bugs’ Fenner)
1936 – The Petrified Forest (Duke Mantee)
1934 – Midnight (Gar Boni)
1932 – Three on a Match (Harve, Ace’s henchman)
1932 – Big City Blues (Shep Adkins, uncredited)
1932 – Love Affair (Jim Leonard)
1931 – A Holy Terror (Steve Nash)
1931 – Women of All Nations (Stone)
1931 – The Bad Sister (Valentine Corliss)
1931 – Body and Soul (Jim Watson)
1930 – A Devil with Women (Tom Standish)
1930 – Up the River (Steve)

ZERO: Each night, when Humphrey Bogart returned to his Beverly Hills estate, the first to greet him wasn’t a director, a studio executive, or even his beloved wife, Lauren Bacall: It was Zero — his loyal Scottish Terrier. Ears alert, eyes shining, tail wagging furiously — as if Bogie had come back from the ends of the earth, not just a day on set. Zero wasn’t just a pet: he was Bogart’s shadow, his confidant, his family.

Bacall would tease: “Zero is probably the only creature Bogie ever obeyed without a fight.” Bogart himself once said over drinks at Romanoff’s:
“A dog doesn’t care about your box office. He’ll lick your face whether you’re broke or famous.”

For a man raised in a cold New York household, where affection was scarce, the unconditional love of animals meant everything. Zero lived like a king in the Bogart home. He had his own little corner — complete with a bar and even an ashtray. Bogie laughed: “I think Zero likes bourbon more than I do.” During poker nights with Sinatra, Garland, and David Niven, Zero had his own chair at the table. If tempers flared, he’d growl at the guilty party. Sinatra once tried to slip him a steak, but Zero refused, glancing back at Bogart as if to say: “Nice try — but I know who feeds me.”

While filming "The African Queen" in the Congo, Bogart fell ill and longed for home. In a letter to Bacall, he wrote: “Tell Zero I miss that ugly face more than I thought I could miss anything with four legs. Give him a steak on me.” Bacall tried — but Zero wouldn’t eat. Instead, he waited patiently, as if holding out until Bogart returned himself. Bogie’s devotion to his terrier was no joke. He once had a clause written into a Warner Bros. contract that allowed him to bring a dog on set. When an executive barred Zero from the dressing rooms, Bogart shut the entire production down until his companion was let in.

Beyond Zero, the Bogart home was filled with life: a canary named Butch, who whistled “As Time Goes By” each morning, and a black cat called Smoke. Yet it was Zero who remained closest to his heart. In Bogart’s final months in 1956, as illness wore him down, Zero never left his side. On one quiet evening, Bogart lifted a weak hand toward the edge of the bed. Zero leapt up, curled into his chest, and lay still — no words needed.
When Bogart passed away on January 14, 1957, at just 57 years old, Zero lay motionless beside him until Bacall carried him away. For days he refused to eat, waiting by the steps of the house, as if hoping Bogie would walk through the door one last time.

Humphrey Bogart’s greatest roles belonged to the silver screen, but his truest story was written in loyalty — not from Hollywood, not from applause — but from the small Scottish Terrier who asked for nothing but love - and gave it back a thousand times over.