Literature (British) | shigekuni. | Page 2
Inevitably, this mismatched relationship turns to one of affection as they traverse Cast: Humphrey Bogart (Charlie Allnut), Katharine Hepburn (Rose Sayer), .. the Germans, the crew built a village for the express purpose of burning it down. The African Queen is a British-American adventure film adapted from the novel of . After a brief marriage ceremony, there is an explosion and the Königin Luise quickly capsizes. The Königin Luise has Humphrey Bogart as Charlie Allnut; Katharine Hepburn as Rose Sayer; Robert Morley as Rev. Samuel Sayer. Rose Sayer is the sister of a middle-class English missionary in German Central Africa. up the river--his name is Charlie Allnutt--drops in, helps Rose bury her brother, Though the characters do not exactly reach the goals they set for develops the tense and complex relationships between the British.
Rose is a middle aged spinster from a reasonably wealthy background doing missionary work with her dominating elderly brother.
The African Queen (film) - Wikipedia
Allnutt is an upstart Cockney drifter who sailed the high seas as a stoker until he landed a realtively safe job as a currier on the Ulanga river, based on his nautical and mechanical experience. Gender politics also come into play in the duel of wills between Rose and Allnutt.
He wants to stay out of trouble, she wants to do a grand gesture striking at the Germans who destroyed her cosy household with her brother, at the same time affirming and validating her new found independence. So the two imcompatible partners set out to descend the Ulanga River and attack a much stronger German gunship Konigin Louise guarding the access to West Africa. As we have come to expect from romantic comedies, the initial repulsion will turn into something more passionate as the couple spend more time together and get to know each other.
The story should be familiar to most of us from the famous Humphrey Bogart and Katharine Hepburn movie directed by John Huston. I believe the movie is almost flawless, due to the genius of the two leads to inhabit their characters and to transmit their passion to the viewers, something the book only partially manages through unconvincing psychological speculations and a heavy dose a patriotic fervor.
Yet the book has its merits, and I would recommend giving it a try, even for those who, like me, have seen the movie about a dozen times. There could be no monotony on the river, with its snags and mud bars, its bends and its backwaters, its eddies and its swirls. Perhaps those few days of active happiness were sufficient recompense to Rose for thirty-three years of passive misery. C S Forester is clearly better at writing nautical adventures than at exploring character motivations, and the highpoint of the book is the perilous journey on the Ulanga river, depicted in vivid detail, especially when it comes to riding the white water cataracts and the gruelling traverse of the delta labyrinth.
An added bonus for me was to discover some technical engineering passages I actually work in pumps, turbines, compressors repairs and the details on improvised repairs on the African Queen: This proved hazardous on one occasion when the boat's boiler — a heavy copper replica — almost fell on Hepburn. It was not bolted down because it also had to be moved to accommodate the camera.
The small steam-boat used in the film to depict the African Queen was built inin Britain, for service in Africa. At one time it was owned by actor Fess Parker.
The British refloated the Graf Goetzen in and placed her in service on Lake Tanganyika in as the passenger ferry MV Liembaand she remains in active service there as of This claim was initially considered dubious  though it was given more credence when a zoologist admitted her grandparents fed them. Upon the film's premiere, Edwin Schallert of the Los Angeles Times wrote that it "should impress for its novelty both in casting and scenically," and found the ending "rather contrived and even incredible, but melodramatic enough, with almost a western accent, to be popularly effective.
This is not noted with disfavor.
The African Queen
Huston merits credit for putting this fantastic tale on a level of sly, polite kidding and generally keeping it there, while going about the happy business of engineering excitement and visual thrills. Performance-wise, Bogart has never been seen to better advantage. Nor has he ever had a more knowing, talented film partner than Miss Hepburn.
Coe wrote in the March 8, edition of The Washington Post that "Huston has tried a risky trick and most of the time pulls it off in delicious style.
And from both his stars he has drawn performances which have rightly been nominated for those Academy Awards on the [20th]. The characters act as childishly as they talk, and discriminating picture-goers will, no doubt, laugh at them. There is nothing romantic about either Katharine Hepburn or Humphrey Bogart, for both look bedraggled throughout.