In 1944, Lauren Bacall burst onto the Hollywood scene like a meteor, dazzling audiences and critics alike in Howard Hawks’ To Have and Have Not. At just 19 years old, her pairing with Humphrey Bogart was magnetic, setting screens ablaze with their sizzling chemistry. Bacall’s debut performance instantly catapulted her to stardom. Her cool, slightly insolent allure earned her comparisons to Veronica Lake and Marlene Dietrich, while Hollywood declared her the next great personality, poised to rival the likes of Katharine Hepburn and Greta Garbo.

Yet behind this meteoric rise, and somewhat overblown response, trouble was brewing. Rather than harnessing the success of Bacall and Bogart’s terrific pairing, just a year later in 1945, Warner Bros. made a baffling choice for her next release. Although The Big Sleep—today a much-remembered Howard Hawks-directed film with a labyrinthine plot and starring the successful couple—had already been completed, the studio released Confidential Agent first in 1945. This spy noir thriller cast Bacall opposite Charles Boyer in a misaligned combination that failed to spark the same magic. In fact, the results were disastrous. Reviews were practically unanimous, with critics harshly panning Bacall’s performance and unjustly blaming her for the film’s failure.

The backlash was swift and equally overblown. While the public remained skeptical, critics who had elevated Bacall as Hollywood’s brightest new star now seemed eager to tear her down, revealing the harsher scrutiny placed upon women in the industry. Her career trajectory, which had begun with such promise, was suddenly in jeopardy. This fascinating topic will be the subject of my upcoming YouTube video for Noirvember, celebrating Lauren Bacall’s centennial. In this post, I’ll dive deeper into different aspects and reactions that won’t fully be included in the video. As a bonus, there will also be a special book recommendation! You know how to whistle, don’t you?

Bogart’s Public Defense: A Husband’s Perspective

In the midst of the backlash, Bacall found a vocal advocate in her newly-wed husband, Humphrey Bogart, she found a staunch ally. Just before the release of The Big Sleep on August 31st 1946, in June that year, he penned an article for Photoplay magazine—a publication known for its close ties to the studios—offering rare insight into the toll Confidential Agent had taken on Bacall. While Bogart’s words seemed to reflect his genuine concern and support, it’s worth noting that fan magazines like Photoplay often had ties to the industry, and many of their articles—especially those attributed to stars—were sometimes crafted with the help of publicists or, at times, entirely fabricated as part of a studio-driven PR campaign. In this case, this could very much be a crafted intervention from the publication. Despite this, Bogart’s comments were widely seen as an impassioned defense of his wife during a turbulent period in her early career. Here are some of the highlights of his article titled “In Defense of My Wife”:

“Betty took quite a beating from the critics for Confidential Agent. Nobody but myself really knows how she took this beating—what she went through in the shock and surprise of it,” he wrote. Bogart shed light on the precarious nature of Bacall’s swift ascent:

“Betty went from what was practically oblivion to the spotlight of world attention without a chance to learn values, without any past experience to go by… Before she had time to catch her breath, she took a panning that would have staggered even a seasoned star. It was an experience that tested her mettle.”

He also highlighted a glaring double standard. While Charles Boyer, her established co-star, emerged unscathed, Bacall was held solely responsible for the film’s shortcomings. “She didn’t write it, she didn’t direct it, she didn’t play all the parts. Yet the critics acted as if the whole thing were her fault,” Bogart observed, and continued: “No doubt they figured that her terrific popularity from To Have and Have Not would insure a big box-office success for this picture too. Anyway, she was kept in the picture and was made the goat when it was shown. No one panned Charles Boyer, for he was an established star with many fine performances to his credit, but she had to stand or fall on only one previous effort.”

This disproportionate response highlighted the intensified scrutiny Bacall faced throughout her Hollywood career. Confidential Agent's harsh reviews planted seeds of doubt about her abilities as an actress—doubts that lingered in the industry for decades. Evidence of this lies in the fact that she received only one Academy Award nomination during her career, for The Mirror Has Two Faces (1996). That nomination came much later, during her celebrated second act, when her critically acclaimed work on Broadway—winning two Tony Awards for Applause (1970) and Woman of the Year (1981)—finally earned her the respect as a performer from peers and critics that had proven so elusive.

A Spark of Curiosity: A Fan’s Appreciation

If there’s one piece that particularly sparked my curiosity in discovering Confidential Agent’s impact on Betty’s career, it was in fact another letter published in Photoplay, this time in the October 1946 issue, titled The Bogarts Teamed in “The Big Sleep”. Written by a fan named David Mallery, the letter stands as a heartfelt defense of Bacall’s potential as a screen personality while also addressing the public and critical discourse surrounding Confidential Agent. It’s possibly another studio attempt to shift the narrative on Bacall’s perception, masked as a genuine story written by a soldier (or sailor, in this case). For me, it was through this letter that I first learned about the film, directed by Herman Shumlin and starring Bacall alongside Charles Boyer—another “B&B” pairing that fell far short of Warner Bros.’ expectations. I was genuinely surprised that I had never come across this chapter of Bacall’s career, including what Photoplay referred to as her “debacle” and how it ultimately influenced the release and final version of The Big Sleep. This entirely new discovery for me began with a simple fan letter in a magazine, opening up a deeper exploration of Bacall’s early career challenges.

Mallery recounts in the letter how his ship’s crew, during wartime, enthusiastically embraced The Big Sleep during an early screening in 1945—an occurrence I will delve fully into my upcoming video— praising its script, pacing, direction by Howard Hawks, and performances, especially Bacall’s. He confidently asserts that her charisma and Hawks’ adept direction proved Bacall to be a compelling screen presence, urging Warner Bros. to trust the public’s response.

This letter, while less prominent than Bogart’s June 1946 article in the same magazine, offers a fascinating glimpse into the industry’s relationship with its audience during this era. It reflects how fan magazines like Photoplay often blended promotion, audience opinion, and studio influence. For me, it planted the seeds of a much larger exploration into the fallout from Confidential Agent and its ripple effects. These discoveries became a key inspiration for my imminent video, where I will delve deeper into Bacall’s early career challenges and the studio’s response to this pivotal moment.

A Surprising Advocate: Graham Greene’s Praise

Another interesting piece of information that came from my research of the catastrophic release of Bacall’s second film (although technically her third) came from a surprising advocate. Decades later, Bacall’s performance in Confidential Agent received an unexpected validation from none other than Graham Greene, the author of the novel upon which the film was based. Known for his disdain for Hollywood adaptations of his work, Greene amazed many when, in 1979 at 75 years of age, he praised the film and Bacall’s acting in a letter response to The Sunday Telegraph. Yes, in yet another letter—a recurring theme of this post—Greene responded Philip Purser when the latter returned to the question of the casting of Bacall in Confidential Agent.

Greene noted that while critics at the time had labeled her “insanely miscast” and Bacall herself dismissed her performance as “lousy,” he found her portrayal “admirable.” That’s quite a compliment, especially coming from Greene. He commended Charles Boyer as well, and, even more surprisingly, lauded Shumlin as “the only American director to make a good film from one of my stories.” For Greene, Confidential Agent stood out as a rare, faithful adaptation—one of the few to capture the essence of his original novel.

This occurrence is documented in the book The Graham Greene Film Reader: Reviews, Essays, Interviews, and Film Stories published in 1995, which is available to read through the Internet Archive. For those unfamiliar, Greene was also a film critic for several years. Between 1935 and 1941, he contributed over 400 reviews to notable publications like The Spectator and Night and Day. At The Spectator, Greene’s often incisive and acerbic critiques earned the magazine a prominent place in cinematic discourse. He remained with The Spectator until 1940.

However, Greene’s work at Night and Day sparked considerable controversy. A now-infamous 1937 review of Shirley Temple’s Wee Willie Winkie included remarks about the industry’s portrayal of the child star that many found highly inappropriate. It’s no wonder; its provocative phrasing caused a public outcry. Twentieth Century Fox sued Greene and the magazine for libel, winning £3,500 in damages, a blow that ultimately led to the magazine’s closure. To escape the legal and societal fallout, Greene relocated to Mexico, a journey that later inspired his novel The Power and the Glory.

Perhaps for the better, Greene’s career as a film critic concluded before World War II, but his appreciation and analysis of films, which he honed during this time, influenced his later works. His understanding of cinematic structure is evident in his novels, and his admiration for certain filmmakers and actors informed his later public commentary on films, such as his surprising praise for Confidential Agent.

In hindsight, Confidential Agent is not the calamity that its reputation suggests. James Wong Howe’s cinematography lends a striking visual style, and Charles Boyer’s performance manages to carry the uneven narrative with dignity. The supporting cast, including Peter Lorre and a young Wanda Hendrix in her first screen role, adds intrigue and interest. Bacall’s performance, however, struggles within the confines of an ill-conceived role. Miscast, but especially underwritten, her character lacks the wit or agency necessary to showcase her talents. The character feels more like a narrative device than a compelling presence. Confidential Agent ultimately feels like a missed opportunity, both for Bacall and the studio that mismanaged her image.

For Bacall, the experience was a painful yet formative lesson in navigating studio politics and critical scrutiny. It marked a pivotal moment, pushing her to take greater control of her on-screen identity and career trajectory. Reflecting on this period in her autobiography, By Myself, Bacall wrote: “I wonder if critics realize how destructive they are. Imagine if I had not been a happy new bride—with that distraction and the support and guidance of my experienced husband. If I’d been alone, I could never have survived. Lucky for me, I threw myself so violently, so single-mindedly, into the big things of life. If I hadn’t been so consumed by Bogie, the thrusting of me onto the national scene with such a vengeance would have been uncopable with.”

This resilience allowed Bacall to rise above the early setbacks in her career, ultimately cementing her enduring legacy.

✨ Specially Recommended Read 📚

Old Films, Young Eyes: A Teenage Take on Hollywood's Golden Age (2024)

Simone O. Elias, classic film enthusiast and writer, producer, and host of the Teenage Golden Age Podcast, has released an extraordinary book titled Old Films, Young Eyes: A Teenage Take on Hollywood’s Golden Age, reflecting on the legacy and relevance of Hollywood’s Golden Age from the perspective of a Gen Z. Simone’s comprehensive approach tackles key topics such as interracial relationships, stereotypes, iconic films, and Hollywood legends, while drawing connections to contemporary culture—linking classics to modern phenomena like Barbie or artists such as Taylor Swift.

For many old-Hollywood lovers, the influence of these films on today’s world is undeniable, but for those less familiar, Simone’s insights might serve as a compelling reminder of their ripple effects. Well-researched and deeply engaging, Old Films, Young Eyes is perfect for both lifelong cinephiles and new generations curious about how the films of yesterday continue to resonate today. Simone’s ability to establish these connections with clarity and passion makes this a must-read for anyone with an open perspective and a love for cinema. Highly recommended!

You can find the book on Amazon and its publisher McFarland Books.

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🎬 I hope you enjoyed this sneak peak and additional information on Lauren Bacall’s career debacle with Confidential Agent. There’s much more to cover, and that will be soon on my YouTube channel. In the meantime, there’s a whole playlist of videos devoted to film noir, and classic film history, that I encourage you to watch if you haven’t already.

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Wishing everyone who celebrates a great Thanksgiving

Cheers,
Miriam