Humphrey DeForest Bogart was born on Christmas Day, 1899 in New York City, the eldest child of Dr. Belmont DeForest Bogart (July 1867, Watkins Glen, New York – September 8, 1934, Tudor City apartments, New York City) and Maud Humphrey (1868–1940). Belmont and Maud married in June 1898. The name “Bogart” comes from the Dutch surname “Bogaert”. It is derived from the word “bogaard”, a short name for “boomgaard”, which means “orchard”. Bogart's father was a Presbyterian of English and Dutch descent; his mother was an Episcopalian of English descent. Bogart was raised in the Episcopalian faith, but did not share in his family's belief in God.
Bogart's birthday has been a subject of controversy; according to Warner Bros, he was born on Christmas Day, 1899. Others believe that this was a fiction created by the studio to romanticize their star, and that he was actually born on January 23, 1899. However, this story is now considered baseless: although no birth certificate has ever been found, his birth notice did appear in a New York newspaper in early January 1900, which supports the December 1899 date, as do other sources, such as the 1900 census.
Bogart's father, Belmont, was a cardiopulmonary surgeon. His mother, Maud Humphrey, was a commercial illustrator, who received her art training in New York and France, including study with James McNeill Whistler, and who later became art director of the fashion magazine The Delineator. She was a militant suffragette. She used a drawing of baby Humphrey in a well-known ad campaign for Mellins Baby Food. In her prime, she made over $50,000 a year, then a vast sum, far more than her husband's $20,000 per year. The Bogarts lived in a fashionable Upper West Side apartment, and had an elegant cottage on a fifty-five acre estate in upstate New York on Canandaigua Lake. As a youngster, Humphrey's gang of friends at the lake would put on theatricals.
Humphrey was the oldest of three children; he had two younger sisters, Frances and Catherine Elizabeth (Kay). His parents were very formal, busy in their careers, and frequently fought—resulting in little emotion directed at the children, "I was brought up very unsentimentally but very straightforwardly. A kiss, in our family, was an event. Our mother and father didn't glug over my two sisters and me." As a boy, Bogart was teased for his curls, his tidiness, the "cute" pictures his mother had him pose for, the Little Lord Fauntleroy clothes she dressed him in—and the name "Humphrey." From his father, Bogart inherited a tendency for needling people, a fondness for fishing, a lifelong love of boating, and an attraction to strong-willed women.
The Bogarts sent their son to private schools. Bogart attended the Delancey School until fifth grade, when he was enrolled in Trinity School. He was an indifferent, sullen student who showed no interest in after-school activities. Later he went to the prestigious preparatory school Phillips Academy, in Andover, Massachusetts, where he was admitted based on family connections. They hoped he would go on to Yale, but in 1918, Bogart was expelled. The details of his expulsion are disputed: one story claims that he was expelled for throwing the headmaster (alternatively, a groundskeeper) into Rabbit Pond, a man-made lake on campus. Another cites smoking and drinking, combined with poor academic performance and possibly some inappropriate comments made to the staff. It has also been said that he was actually withdrawn from the school by his father for failing to improve his academics, as opposed to expulsion. In any case, his parents were deeply dismayed by the events and their failed plans for his future.
With no viable career options, Bogart followed his passion for the sea and enlisted in the United States Navy in the spring of 1918. He recalled later, "At eighteen, war was great stuff. Paris! Sexy French girls! Hot damn!" Bogart is recorded as a model sailor who spent most of his months in the Navy after the Armistice was signed, ferrying troops back from Europe.
It was during his naval stint that Bogart may have received his trademark scar and developed his characteristic lisp, though the actual circumstances are unclear. In one account, during a shelling of his ship the USS Leviathan, his lip was cut by a piece of shrapnel, although some claim Bogart did not make it to sea until after the Armistice with Germanywas signed. Another version, which Bogart's long-time friend, author Nathaniel Benchley, claims is the truth, is that Bogart was injured while on assignment to take a naval prisoner to Portsmouth Naval Prison in Kittery, Maine. Supposedly, while changing trains in Boston, the handcuffed prisoner asked Bogart for a cigarette and while Bogart looked for a match, the prisoner raised his hands, smashed Bogart across the mouth with his cuffs, cutting Bogart's lip, and fled. The prisoner was eventually taken to Portsmouth. An alternate explanation, is that in the process of uncuffing an inmate, Bogart was struck in the mouth when the inmate wielded one open, uncuffed bracelet while the other was still on his wrist.
By the time Bogart was treated by a doctor, the scar had already formed. "Goddamn doctor," Bogart later told David Niven, "instead of stitching it up, he screwed it up." Niven says that when he asked Bogart about his scar he said it was caused by a childhood accident; Niven claims the stories that Bogart got the scar during wartime were made up by the studios to inject glamor. His post-service physical makes no mention of the lip scar even though it mentions many smaller scars, so the actual cause may have come later. When actress Louise Brooks met Bogart in 1924, he had some scar-tissue on his upper lip, which Belmont said that Bogart may have partially repaired before entering films in 1930. She believes his scar had nothing to do with his distinctive speech pattern, his "lip wound gave him no speech impediment, either before or after it was mended. Over the years, Bogart practiced all kinds of lip gymnastics, accompanied by nasal tones, snarls, lisps and slurs. His painful wince, his leer, his fiendish grin were the most accomplished ever seen on film."
Bogart returned home to find that his father was suffering from poor health (perhaps aggravated by morphine addiction), his medical practice was faltering, and he had lost much of the family's money on bad investments in timber. During his naval days, Bogart's character and values developed independently of family influence, and he began to rebel somewhat against their values. He came to be a liberal who hated pretensions, phonies, and snobs, and at times he defied conventional behavior and authority, traits he displayed in life and in his movies. On the other hand, he retained their traits of good manners, articulateness, punctuality, modesty, and a dislike of being touched. After his naval service, Bogart worked as a shipper and then bond salesman. He joined the Naval Reserve.
Bogart resumed his friendship with boyhood pal Bill Brady, Jr. whose father had show business connections, and eventually Bogart got an office job working for William A. BradySr.'s new company, World Films. Bogart was able to try his hand at screenwriting, directing, and production, but excelled at none. For a while, he was stage manager for Brady's daughter's play A Ruined Lady. A few months later, in 1921, Bogart made his stage debut in Drifting as a Japanese butler in another Alice Brady play, nervously speaking one line of dialog. Several more appearances followed in her subsequent plays. Bogart liked the late hours actors kept, and enjoyed the attention an actor got on stage. He stated, "I was born to be indolent and this was the softest of rackets". He spent a lot of his free time in speakeasies and became a heavy drinker. A barroom brawl during this time might have been the actual cause of Bogart's lip damage, as this coincides better with the Louise Brooks account.
Bogart had been raised to believe that acting was beneath a gentleman, but he enjoyed stage acting. He never took acting lessons, but was persistent and worked steadily at his craft. He appeared in at least seventeen Broadway productions between 1922 and 1935. He played juveniles or romantic second-leads in drawing room comedies. He is said to have been the first actor to ask "Tennis, anyone?" on stage. Critic Alexander Woollcott wrote of Bogart's early work that he "is what is usually and mercifully described as inadequate." Some reviews were kinder. Heywood Broun, reviewing Nerves wrote, "Humphrey Bogart gives the most effective performance...both dry and fresh, if that be possible". Bogart loathed the trivial, effeminate parts he had to play early in his career, calling them "White Pants Willie" roles. He played juvenile lead, reporter Gregory Brown, in the comedy Meet the Wife, written by Lynn Starling, which had a successful run of 232 performancs at the Klaw Theatre from November 26, 1923 to July 1924.
Early in his career, while playing double roles in the play Drifting at the Playhouse Theatre in 1922, Bogart met actress Helen Menken. They were married on May 20, 1926 at the Gramercy Park Hotel in New York City, divorced on November 18, 1927, but remained friends. On April 3, 1928, he married Mary Philips at her mother's apartment in Hartford, Connecticut. She, like Menken, had a fiery temper and, like every other Bogart spouse, was an actress. He had met Mary when they appeared in the play Nerves, which had a very brief run at the Comedy Theatre in September 1924.
After the stock market crash of 1929, stage production dropped off sharply, and many of the more photogenic actors headed for Hollywood. Bogart's earliest film role is with Helen Hayes in the 1928 two-reeler The Dancing Town, of which a complete copy has never been found. He also appeared with Joan Blondell and Ruth Etting in a Vitaphone short,Broadway's Like That (1930) which was re-discovered in 1963.
Bogart then signed a contract with Fox Film Corporation for $750 a week. Spencer Tracy was a serious Broadway actor who Bogart liked and admired, and they became good friends and drinking buddies. It was Tracy, in 1930, who first called him "Bogey". (Spelled variously in many sources, Bogart himself spelled his nickname "Bogie".) Tracy and Bogart appeared in their only film together in John Ford's early sound film Up the River (1930), with both playing inmates. It was Tracy's film debut. Bogart then performed in The Bad Sister with Bette Davis in 1931, in a minor part.
Bogart shuttled back and forth between Hollywood and the New York stage from 1930 to 1935, suffering long periods without work. His parents had separated, and Belmont died in 1934 in debt, which Bogart eventually paid off. Bogart inherited his father's gold ring which he always wore, even in many of his films. At his father's deathbed, Bogart finally told Belmont how much he loved him. His second marriage was on the rocks, and he was less than happy with his acting career to date; he became depressed, irritable, and drank heavily.
Early film career
The film version of The Petrified Forest was released in 1936. His performance was called "brilliant", "compelling", and "superb." Despite his success in an "A movie," Bogart received a tepid twenty-six week contract at $550 per week and was typecast as a gangster in a series of "B movie" crime dramas. Bogart was proud of his success, but the fact that it came from playing a gangster weighed on him. He once said: "I can't get in a mild discussion without turning it into an argument. There must be something in my tone of voice, or this arrogant face—something that antagonizes everybody. Nobody likes me on sight. I suppose that's why I'm cast as the heavy." Bogart's roles were not only repetitive, but physically demanding and draining (studios were not yet air-conditioned), and his regimented, tightly scheduled job at Warners was not exactly the "peachy" actor's life he hoped for. However, he was always professional and generally respected by other actors. In those "B movie" years, Bogart started developing his lasting film persona – the wounded, stoical, cynical, charming, vulnerable, self-mocking loner with a core of honor.
The studio system, then at its most entrenched, usually restricted actors to one studio, with occasional loan-outs, and Warner Bros. had no interest in making Bogart a top star. Shooting on a new movie might begin days or only hours after shooting on the previous one was completed. Any actor who refused a role could be suspended without pay. Bogart disliked the roles chosen for him, but he worked steadily: between 1936 and 1940, Bogart averaged a movie every two months, sometimes even working on two simultaneously, as movies were not generally shot sequentially. Amenities at Warners were few compared to those for their fellow actors at MGM. Bogart thought that the Warners wardrobe department was cheap, and often wore his own suits in his movies. In High Sierra, Bogart used his own pet dog Zero to play his character's dog, Pard. Bogart's disputes with Warner Bros. over roles and money were similar to those the studio had with other less-than-obedient stars, such as Bette Davis, James Cagney, Errol Flynn, and Olivia de Havilland.
The leading men ahead of Bogart at Warner Bros. included not only such classic stars as James Cagney and Edward G. Robinson, but also actors far less well-known today, such as Victor McLaglen, George Raft and Paul Muni. Most of the studio's better movie scripts went to these men, and Bogart had to take what was left. He made films like Racket Busters, San Quentin, and You Can't Get Away with Murder. The only substantial leading role he got during this period was in Dead End (1937), while loaned to Samuel Goldwyn, where he portrayed a gangster modeled after Baby Face Nelson. He did play a variety of interesting supporting roles, such as in Angels with Dirty Faces (1938) (in which his character got shot by James Cagney's). Bogart was gunned down on film repeatedly by Cagney and Edward G. Robinson, among others. In Black Legion (1937), for a change, he played a good man caught up and destroyed by a racist organization, a movie Graham Greene called "intelligent and exciting, if rather earnest".
In 1938, Warner Bros. put Bogart in a "hillbilly musical" called Swing Your Lady as a wrestling promoter; he later apparently considered this his worst film performance. In 1939, Bogart played a mad scientist in The Return of Doctor X. He cracked, "If it'd been Jack Warner's blood...I wouldn't have minded so much. The trouble was they were drinking mine and I was making this stinking movie." Mary Philips, in her own stage hit A Touch of Brimstone (1935), refused to give up her Broadway career to go to Hollywood with Bogart. After the play closed, however, she went to Hollywood, but insisted on continuing her career and they divorced in 1937.
On August 21, 1938, Bogart entered into a disastrous third marriage, with actress Mayo Methot, a lively, friendly woman when sober, but paranoid when drunk. She was convinced that her husband was cheating on her. The more she and Bogart drifted apart, the more she drank, got furious and threw things at him: plants, crockery, anything close at hand. She even set the house on fire, stabbed him with a knife, and slashed her wrists on several occasions. Bogart for his part needled her mercilessly and seemed to enjoy confrontation. Sometimes he turned violent. The press accurately dubbed them "the Battling Bogarts." "The Bogart-Methot marriage was the sequel to the Civil War," said their friend Julius Epstein. A wag observed that there was "madness in his Methot." During this time, Bogart bought a motor launch, which he named Sluggy, after his nickname for his hot-tempered wife. Despite his proclamations that, "I like a jealous wife," "We get on so well together (because) we don't have illusions about each other," and, "I wouldn't give you two cents for a dame without a temper," it was a highly destructive relationship.
In California in 1945, Bogart bought a 55-foot (17 m) sailing yacht, the Santana, from actor Dick Powell. The sea was his sanctuary and he loved to sail around Catalina Island. He was a serious sailor, respected by other sailors who had seen too many Hollywood actors and their boats. About 30 weekends a year, he went out on his boat. He once said, "An actor needs something to stabilize his personality, something to nail down what he really is, not what he is currently pretending to be."
Bogart had a lifelong disgust for the pretentious, fake or phony, as his son Stephen told Turner Classic Movies host Robert Osborne in 1999. Sensitive yet caustic, and disgusted by the inferior movies he was performing in, Bogart cultivated the persona of a soured idealist, a man exiled from better things in New York, living by his wits, drinking too much, cursed to live out his life among second-rate people and projects.
Bogart rarely saw his own films and avoided premieres. He even protected his privacy with invented press releases about his private life to satisfy the curiosity of the newspapers and the public. When he thought an actor, director, or a movie studio had done something shoddy, he spoke up about it and was willing to be quoted. He advised Robert Mitchum that the only way to stay alive in Hollywood was to be an "againster." As a result, he was not the most popular of actors, and some in the Hollywood community shunned him privately to avoid trouble with the studios. But the Hollywood press, unaccustomed to candor, was delighted.
Bogart gained his first real romantic lead in 1942's Casablanca, playing Rick Blaine, the hard-pressed expatriate nightclub owner, hiding from the past and negotiating a fine line amongNazis, the French underground, the Vichy prefect and unresolved feelings for his ex-girlfriend. The film was directed by Michael Curtiz and produced by Hal Wallis, and featured Ingrid Bergman, Claude Rains, Sydney Greenstreet,Paul Henreid, Conrad Veidt, Peter Lorre and Dooley Wilson. It was reportedly Bogart's idea that Rick Blaine be portrayed as a chessplayer, which served as a metaphor for the sparring relationship of the characters played by Bogart and Rains. In real life Bogart played tournament chess, one division below master level, and often played with crew members and cast off the set. However, Paul Henreid proved to be the best player.
The on-screen magic of Bogart and Bergman was the result of two actors doing their very best work, not any real-life sparks, though Bogart's perennially jealous wife assumed otherwise. Off the set, the co-stars hardly spoke during the filming, where normally Bergman had a reputation for affairs with her leading men. She later said of Bogart, "I kissed him but I never knew him." Because Bergman was taller than her leading man, Bogart had 3-inch (76 mm) blocks attached to his shoes in certain scenes.
Casablanca won the 1943 Academy Award for Best Picture. Bogart was nominated for Best Actor in a Leading Role, but lost to Paul Lukas for his performance in Watch on the Rhine. The film vaulted Bogart from fourth place to first in the studio's roster, finally exceeding James Cagney, and by 1946 more than doubling his annual salary to over $460,000, making him the highest paid actor in the world.
Bogart and Bacall
Bogart met Lauren Bacall while filming To Have and Have Not (1944), a loose adaptation of the Ernest Hemingway novel. The movie has many similarities with Casablanca – the same enemies, the same kind of hero, even a piano player sidekick (this time Hoagy Carmichael). When they met, Bacall was 19 and Bogart was 44. He nicknamed her "Baby." She had been a model since she was 16 and had acted in two failed plays. Bogart was drawn to Bacall's high cheekbones, green eyes, tawny blond hair, and lean body, as well as her poise and earthy, outspoken honesty. Reportedly he said, "I just saw your test. We'll have a lot of fun together". Their physical and emotional rapport was very strong from the start, and the age difference and different acting experience also created the additional dimension of a mentor-student relationship. Quite contrary to the Hollywood norm, it was his first affair with a leading lady. Bogart was still miserably married and his early meetings with Bacall were discreet and brief, their separations bridged by ardent love letters. The relationship made it much easier for the newcomer to make her first film, and Bogart did his best to put her at ease by joking with her and quietly coaching her. He let her steal scenes and even encouraged it.Howard Hawks, for his part, also did his best to boost her performance and her role, and found Bogart easy to direct.
Hawks at some point began to disapprove of the pair. Hawks considered himself her protector and mentor, and Bogart was usurping that role. Hawks fell for Bacall as well (normally he avoided his starlets, and he was married). Hawks told her that she meant nothing to Bogart and even threatened to send her to Monogram, the worst studio in Hollywood. Bogart calmed her down and then went after Hawks. Jack Warner settled the dispute and filming resumed. Hawks said of Bacall: "Bogie fell in love with the character she played, so she had to keep playing it the rest of her life."
Just months after wrapping the film, Bogart and Bacall were reunited for their second movie together, the film noir The Big Sleep, based on the novel by Raymond Chandler, again with script help from William Faulkner. Chandler thoroughly admired Bogart's performance: "Bogart can be tough without a gun. Also, he has a sense of humor that contains that grating undertone of contempt." The film holds a rare niche in Hollywood history as having been completed and slated for release in 1945, then withdrawn and substantially re-edited with new, juiced-up scenes added to better exploit the box office chemistry that shone between Bogie and Bacall in To Have and Have Not and the notoriety of their personal relationship. "After the public's response to Bacall's debut performance in To Have and Have Not at the urging of director Howard Hawks production partner Charles K. Feldman, scenes were re-written to heighten the 'insolent' quality that had intrigued critics and audiences in that film." By chance, a 35 mm nitrate composite master positive (fine grain) of the 1945 version survived. The UCLA Film Archive, in association with Turner Entertainment and with funding provided by Hugh Hefner, restored and released it in 1996.
Bogart was still torn between his new love and his sense of duty to his marriage. The mood on the set was tense, the actors both emotionally exhausted as Bogart tried to find a way out of his dilemma. The dialogue, especially in the newly shot scenes, was full of sexual innuendo supplied by Hawks, and Bogart is convincing and enduring as private detective Philip Marlowe. In the end, the film was successful, though some critics found the plot confusing and overly complicated. Reportedly, Chandler himself could not answer the question of who killed the limousine driver in the story, when the baffled screenwriters called him up for final reference.
Dark Passage (1947) was Bogart's and Bacall's next collaboration. The first third of the film is shot from the protagonist's point of view, with the camera seeing what he sees. After the character's plastic surgery, the rest of the movie is shot normally with Bogart as the lead character. The picture is a suspense thriller, with Bogart intent on finding the real killer in a murder for which he was blamed and sentenced to prison.
Key Largo was directed by John Huston, and, in addition to the presence of Bogart and Bacall, features Edward G. Robinson as "Johnny Rocco," a seething older synthesis of many of his past vicious gangster roles. The cast is trapped during a spectacular hurricane in a hotel owned by Bacall's character's father-in-law, played by Lionel Barrymore. Claire Trevor won an Academy Award for Best Supporting Actress for her performance as Rocco's physically abused, alcoholic, girlfriend. Robinson had always had top billing over Bogart in their previous films together but for this movie, Robinson's name appears to the right of Bogart's, but placed a little higher on the posters, and also in the film's opening credits, to indicate Robinson's near-equal status. Robinson's image was also markedly larger and centered on the original poster, with Bogart relegated to the background. In the film's trailer, Bogart is repeatedly mentioned first but Robinson's name is listed above Bogart's in a cast list at the trailer's very end. Robinson's role remains similar in circumstance to Duke Mantee in The Petrified Forest (1936), Bogart's initial breakthrough which the studio had originally earmarked for Robinson.
Bogart filed for divorce from Methot in February 1945. He and Bacall married in a small ceremony at the country home of Bogart's close friend, Pulitzer Prize-winning author Louis Bromfield, at Malabar Farm near Lucas, Ohio on May 21, 1945.
Bogart and Bacall moved into a $160,000 (equal to $2,040,370 today) white brick mansion in an exclusive neighborhood in Holmby Hills. The marriage proved to be a happy one, though there were the normal tensions due to their differences. He was a homebody and she liked nightlife; he loved the sea, which made her seasick. Bogart's drinking sometimes inflamed tensions.
Bogart became a father at age 49 when Bacall gave birth to Stephen (Steve) Humphrey Bogart on January 6, 1949, during the filming of Tokyo Joe. Bogart told Tokyo Joe's screenwriter, Steve Fisher, "Don’t get any stupid ideas. It just happens to fit." Stephen was actually named after Bogart's character's nickname in To Have and Have Not. Stephen would go on to become an author and biographer, later hosting a television special about his father on Turner Classic Movies. Their daughter, Leslie Howard Bogart, was born on August 23, 1952 and named after British actor Leslie Howard, his co-star in The Petrified Forest.
The enormous success of Casablanca redefined Bogart's career. For the first time, Bogart could be cast successfully as a tough, strong man and, at the same time, as a vulnerable love interest. Despite Bogart's elevated standing, he did not yet have a contractual right of script refusal, so when he got weak scripts, he dug in his heels, and locked horns again with the front office, as he did on the film Conflict (1945). Though he submitted to Jack Warner on that picture, he successfully turned down God is My Co-Pilot(1945). During part of 1943 and 1944, Bogart went on USO and War Bond tours accompanied by Mayo, enduring arduous travels to Italy and North Africa, including Casablanca.
Bogart rarely appeared on television. However, he and Bacall appeared on Edward R. Murrow's Person to Person in which they disagreed in answering every question. Bogart was also featured on The Jack Benny Show. The surviving kinescope of the live Benny telecast features Bogart in his only TV sketch comedy outing. Bogart and Bacall also worked together on an early color telecast, in 1955, an NBC adaptation of The Petrified Forest for Producers' Showcase; only a black and white kinescope of the live telecast has survived.
Bogart performed radio adaptations of some of his best known films, such as Casablanca and The Maltese Falcon. He also recorded a radio series called Bold Venture with Lauren Bacall.
The Rat Pack
Bogart was a founding member and the original leader, until his death, of the Rat Pack. In the spring of 1955, after a long party in Las Vegas with Frank Sinatra, Judy Garland, her husband Sid Luft, Mike Romanoff and wife Gloria, David Niven, Angie Dickinson and others, Lauren Bacall surveyed the wreckage of the party and declared, "You look like a goddamn rat pack."
Romanoff's in Beverly Hills was where the Rat Pack became official. Sinatra was named Pack Leader, Bacall was named Den Mother, Bogie was Director of Public Relations, andSid Luft was Acting Cage Manager. When asked by columnist Earl Wilson what the purpose of the group was, Bacall responded "to drink a lot of bourbon and stay up late."
By the mid-1950s, Bogart's health was failing. Once, after signing a long-term deal with Warner Bros., Bogart predicted with glee that his teeth and hair would fall out before the contract ended. Bogart had formed a new production company and had plans for a new film Melville Goodwin, U.S.A., in which he would play a general and Bacall a press magnate. His persistent cough and difficulty eating became too serious to ignore and he dropped the project. The film was renamed Top Secret Affair and made with Kirk Douglas and Susan Hayward.
Bogart, a heavy smoker and drinker, developed cancer of the esophagus. He almost never spoke of his failing health and refused to see a doctor until January 1956. A diagnosis was made several weeks later and by then removal of his esophagus, two lymph nodes, and a rib on March 1, 1956, was too late to halt the disease, even with chemotherapy. He underwent corrective surgery in November 1956 after the cancer had spread. Katharine Hepburn and Spencer Tracy visited him at this time. Frank Sinatra was also a frequent visitor. With time, Bogart grew too weak to walk up and down stairs. He valiantly fought the pain and joked about his immobility: "Put me in the dumbwaiter and I'll ride down to the first floor in style." The dumbwaiter was then altered to accommodate his wheelchair. In an interview, Hepburn described the last time she and Spencer Tracy saw Bogart (the night before he died):
Spence patted him on the shoulder and said, "Goodnight, Bogie." Bogie turned his eyes to Spence very quietly and with a sweet smile covered Spence's hand with his own and said, "Goodbye, Spence." Spence's heart stood still. He understood.
Bogart had just turned 57 and weighed 80 pounds (36 kg) when he died on January 14, 1957, after falling into a coma. He died at his home at 232 South Mapleton Drive in Holmby Hills, California. His simple funeral was held at All Saints Episcopal Church with musical selections from Bogart's favorite composers, Johann Sebastian Bach and Claude Debussy. The ceremony was attended by some of Hollywood's biggest stars, including Katharine Hepburn, Spencer Tracy, Judy Garland, David Niven, Ronald Reagan, James Mason, Bette Davis, Danny Kaye, Joan Fontaine, Marlene Dietrich, James Cagney, Errol Flynn, Gregory Peck and Gary Cooper, as well as Billy Wilder and Jack Warner. Bacall had asked Tracy to give the eulogy, but Tracy was too upset, so John Huston spoke instead and reminded the gathered mourners that while Bogart's life had ended far too soon, it had been a rich one.
Bogart's cremated remains were interred in Forest Lawn Memorial Park Cemetery, Glendale, California. He was buried with a small, gold whistle once part of a charm bracelet he had given to Lauren Bacall before they married. It was inscribed with a quote from their first movie together: "If you want anything, just whistle."