Film
To Have and Have Not
A moody, loose-limbed wartime romance dressed up as an adventure film, built almost entirely on the sizzling first pairing of Bogart and Bacall. Howard Hawks strips Hemingway down to banter, cigarettes, and a boat, letting two people who'd just fallen for each other in real life do it again on camera. It's slow, cool, and thick with atmosphere rather than plot — for anyone who likes their war stories told sideways.
Should you watch it?
Watch it if you love slow-burning romances built on sparring banter, where the chemistry between two guarded people carries more weight than the plot does.
Skip it if you want the war to be the main event, since the resistance business stays loosely sketched and the romance usually takes the foreground.
What it asks of you: Settle in for a leisurely hundred minutes of talk, looks and simmering tension, with action arriving in short bursts rather than sustained set pieces.
Not sure? Find tonight's pick in a minute.
If you liked this
Casablanca1943
The film everyone assumes this one is copying — same occupied-port setting, same reluctant hero pulled into the Resistance, but sharper, sadder, and endlessly quotable.
But You've probably already seen it, and the familiarity can dull just how good it actually is.

The Big Sleep1946
Bogart and Bacall reunite with Hawks for a plot so tangled even the writers admitted defeat — the point isn't the mystery, it's watching two people flirt their way through it.
But The plot genuinely makes no sense, and if you need a mystery to resolve cleanly, this will drive you up the wall.

Key Largo1948
Bogart and Bacall's last outing together, trading tropical romance for a tense hurricane-and-gangster siege — a darker, more claustrophobic register for the same easy chemistry.
But It trades adventure for a stagier, almost theatrical setup — most of it happens in one hotel room.

Not sure tonight? Get a pick in a minute, starting from To Have and Have Not
The wildcard
Something you would not have found on your own.
Pépé le Moko1937
It's the direct ancestor: the exotic-port setting, the outlaw hero, the fatal pull of a woman toward danger — the template Hollywood, including this film, kept reusing.
The 1937 French film that basically invented this whole subgenre — an outlaw hiding in the Algiers Casbah, drawn out by a woman, doomed by his own longing. Hollywood quietly remade this mood for a decade.
But It's subtitled, slower, and shot with 1930s poetic-realist gloom rather than Hollywood polish — moodier, less fun.

More like this (7)
Notorious1946
Hitchcock's take on wartime romance and espionage, with Bergman and Grant instead of Bacall and Bogart, and a colder, more paranoid version of the same reluctant-agent setup.
But It's more thriller than swashbuckler — the tension is psychological, not adventurous, and the pace tightens rather than breezes.

Only Angels Have Wings1939
Hawks again, six years earlier: pilots, a remote port, a woman who won't be easily won over — basically a dry run for the mood this film later perfected.
But The flying-adventure plot creaks a bit now, and it lacks the political urgency that gives the wartime setting its weight.

Dark Passage1947
The third Bogart-Bacall pairing, this time as a noir thriller about a man on the run — proof their chemistry could carry a completely different kind of story.
But Bogart's face is bandaged for the first third of the film, which is a strange, slow way to meet him.

His Girl Friday1940
Same director, same machine-gun overlapping dialogue, but screwball instead of smoky — if you loved the rhythm of the banter here, this is the purest version of it.
But It's a newsroom comedy with zero war, zero danger, and zero smoldering — a completely different mood.

The African Queen1952
Bogart, a boat, a woman who changes him, and a war happening just offstage — the same ingredients reshuffled into a rougher, funnier, more physical adventure.
But It's grubbier and more slapstick than romantic; the tone is comic adventure rather than moody atmosphere.

Gilda1946
Swap Martinique for Buenos Aires and Bacall for Rita Hayworth: same exotic-port nightclub intrigue, same charged will-they-won't-they simmering under wartime tension.
But It leans harder into melodrama and jealousy than adventure, and the ending's moral logic is shakier.

Rio Bravo1959
Same director, same DNA: a competent man, his ragtag crew, and a confident woman trading barbed dialogue while a threat closes in from outside.
Hawks takes the exact same formula — a small professional crew, a code of loyalty, a sharp-tongued woman who won't be pushed around — and transplants it wholesale into a western.
But If you came for the wartime intrigue and tropical atmosphere, this swaps all of it out for horses, jail cells, and a siege plot.

People
Cast
Humphrey BogartHarry Morgan
Lauren BacallMarie Browning
Walter BrennanEddie
Dolores MoranMme. Hellene de Bursac
Hoagy CarmichaelCricket
Sheldon LeonardLt. Coyo
Walter SzurovyPaul de Bursac
Marcel DalioGerard 'Frenchy'
Walter SandeFishing Customer Johnson- Dan SeymourCapt. M. Renard
- Aldo NadiRenard's Bodyguard
Eugene BordenQuartermaster (uncredited)
Directing
- Don SiegelAssistant Director
- Jack SullivanAssistant Director
- Robert VreelandAssistant Director
- Russell LlewellynAssistant Director
- Howard HawksDirector
Writing
- Frederick de CordovaDialogue
- Ernest HemingwayNovel
- Jules FurthmanScreenplay
- Whitman ChambersScreenplay
- William FaulknerScreenplay
Production
- Jack L. WarnerExecutive Producer
- Howard HawksProducer
- Chuck HansenUnit Manager
- Eric StaceyUnit Manager
Recommended by
Casablanca, The Big Sleep, Key Largo, Passage to Marseille, A Man's World, Seven Sinners