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Hawks bet he could make gold from Hemingway's worst book. Then he found Bacall.
TMDB
80

A Love Story: The Story of 'To Have and Have Not' (2003)

Hollywood myth-makingstudio system chaosorigin story energy

Overview

Documentary

In the '40s Howard Hawks boasts that he can make a movie out of the worst thing Hemingway ever has written. When Hemingway asks, which novel he means, Hawks says To Have and Have Not. Jules Furthman writes a script, which follows the book closely. The location of the story is Cuba, but the US Government is against depicting corruption and violence on Cuba, and threatens to withdraw the film's export license. William Faulkner rewrites the script, and relocates the story to Martinique. Hawks's wife, Nancy Slim Gross, happens to see a young model at the cover of the magazine Harper's Bazaar, and shows it to her husband. Hawks is a star-maker, who likes to discover and nurture new talents. After a screen test, he chooses the 19-year-old model as the lead actress opposite Humphrey Bogart. She changes her name from Betty Perske to Lauren Bacall. At the first takes she is so nervous that she shakes.

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Standout Aspects

Production

Faulkner ghostwriting, Bacall discovered on a magazine cover

Best for:Solo: Quick classic Hollywood rabbit hole between longer films·Rewatch: After To Have and Have Not, spot the magic Hawks captured
ReleasedNov 4, 2003
Runtime11m
StatusReleased

Vibe

Pacefast
Intensitymedium
Tonelight
Feellight
Turner Entertainment Co.
Kurtti-Pellerin

Top Cast

Leonard Maltin

Leonard Maltin

Self

Robert Osborne

Robert Osborne

Self

Humphrey Bogart

Humphrey Bogart

Self (archive footage)

Lauren Bacall

Lauren Bacall

Self (archive footage)

Ask about A Love Story: The Story of 'To Have and Have Not'

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Deep Dive

Trivia, insights & behind the scenes

Trivia

Hawks's wife literally spotted Bacall on a Harper's Bazaar cover in 1943. No casting director, no auditions—just a magazine and a hunch.

Cultural

The US government strong-armed studios about Cuba depictions even in the 1940s, making this an early case of Hollywood foreign policy leverage.

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