User reviews

We meet Sam Marlow (professional Bogart impersonator Robert Sacchi), a freshly-minted private eye, just as he's having the bandages removed from the plastic surgery he's undergone to make himself resemble his idol Bogie. No sooner has Marlow (yes, that's how he spells it, without the "-e") opened his p.i. office in Hollywood than he's up to his fedora in a search for rare sapphires with heiress and Gene Tierney manque Gena Anastas (Michelle Phillips in an engaging performance and a makeup job worthy of Kevyn Aucoin) and other classic movie star lookalikes. Andrew Fenady wrote the script based on his own delightful tongue-in-cheek mystery novel, but the movie's never more than a cute little time-passer (not that a cute little time-passer isn't welcome now and then, mind you!). They could've had fun with it and tried to capture the look and style of Bogart's classic movies, but this modestly-budgeted affair is for the most part shot and staged like a 1970s TV movie, complete with a cheesy soft-rock title song! Sacchi, though amiable enough, is a better impersonator than actor. True, he's got Bogart's mannerisms and appearance down, and he sports a wry streak at times, but he becomes disappointingly wooden in love scenes and other parts of the story that require him to show emotion. (No, being wooden in a love scene is not the same as having a woody in a love scene! :-) Having said all that, BOGART'S FACE is still pleasant light entertainment if you just want some good-natured mind candy to while away a rainy afternoon at home. The interestingly eclectic cast also includes Franco Nero as a Zachary Scott wannabe, Herbert Lom as a Joel Cairo type, Victor Buono as Phillips's Sydney Greenstreet-esque father, Misty Rowe as Marlow's ditsy blonde secretary ("...she looked like Marilyn Monroe and made as much sense as Gracie Allen..."), and Olivia Hussey and Sybil Danning as damsels in various forms of distress. And don't blink during the opening credits, or you'll miss venerable character actor Philip Baker Hall as Marlow's plastic surgeon!

Welcome to a memory trip down nostalgic lane, as "The Man with Bogart's Face" is a neat, affable little homage to a Hollywood legend. It's a typical throwback to those hardboiled crime dramas Bogart appeared in, but set in modern times and the notable gimmick (Robert Sacchi's private eye getting plastic surgery to look like Bogart) is well implemented. It's a one-idea concept (the usual free-flowing narration), but it's old fashion story-telling, dry, razor sharp humour, tightly drummed mystery / suspense and voluptuous dames (Michelle Phillips, Misty Rowe and Sybil Danning) go on to make an appealing package. While in a way you can call it a spoof, it doesn't over do it and does everything in a rather low-key and witty manner. Robert Sacchi simply fit's the part and truly embodies the spirit --- as he spends most of the time decked out in that hat and trench coat, putting on the voice and he always has something to say. Also popping up is Olivia Hussey, Frank Nero (whose character has strange fascination for the colour blue), Victor Buono, Herbert Lom and Yvonne De Carlo. The thoroughly plotted story has a whole bunch of random investigations that eventually come together (the search for the Eyes of Alexandria - two sapphires), as once a struggling private-eye Sam Barlow finds himself being showered in clients, money and danger. He's constantly in someone's sights - for good (the ladies) or bad (hooded hoodlums). Also the script manages to throw around plenty of movie references and that's part of its self-knowing charm. It's well-crafted by director Robert Day and the funky opening theme is quite a catchy title.

If you like Bogart, you will enjoy this film thoroughly. I only wish it was on video so I could buy it! Very nostalgic. Very Bogart...as he was in his Ace Private-Dick days as Sam Spade/Philip Marlowe.

There is no denying that Robert Sacchi has his Humphrey Bogart impersonation nailed cold. He was outstanding in Woody Allen's "Play it Again Sam" (1972), and I believe that experience has carried through to "The Man With Bogart's Face". (1980) . There are some one liners in "The Man With Bogart's Face" that sound very "Woodish". The movie itself features Sacchi and his wonderful Bogart impersonation as private eye Sam Marlow, He is involved with at least a bunch of shady characters and cases. There is no shortage of beautiful women however, buzzing around the "bogus Bogart". Perhaps the weakest part could be the storyline, which is confusing at times. Nevertheless you will be so fixated on all the perfect Bogart mannerisms, that you will hardly notice. - MERK

This amusing, sometimes poignant look at the Hollywood detective genre of the 1940's and 1950's stars Robert Sacci as an unnamed former cop who retires, uses his life savings to pay for plastic surgery to transform his image into that of his idol, Humphrey Bogart, then sets up shop as a private eye under the name "Sam Marlowe". Robert Sacchi, incidentally, is one of the rare few Bogart impersonators who got the lisp exactly right; more to the point, the body and facial language are there. For awhile, "Sam"'s only client is his landlady, who wants him to find her undersized boyfriend, and his only conversational foil is his secretary, simply called "Dutchess" (Misty Rowe), who in his own words, "looked like Marilyn Monroe and made about as much sense as Gracie Allen", and has a passion for banana splits. Then he encounters Elsa (Olivia Hussey), the plain, sweet, virginal daughter of a retired props-master who has been murdered for no discernible reason. In the process of investigating the murder, Sam shortly runs across: the Gene Tierney lookalike daughter (Michelle Phillips) of Anastas, an avaricious, obscenely wealthy Greek shipping tycoon (Victor Buono, turning in a creditable Sidney Greenstreet), his hapless, long-suffering second wife (Yvonne deCarlo, who manages to play a variety of put-upon emotions without saying a word), his two smarmy henchmen (Herbert Lom, channelling Peter Lorre, and Jay Robinson, doing a reasonably accurate Lionel Atwill), and Anastas' vicious, amoral Middle-Eastern potentate (Franco Nero) who comes complete with a glamorus and bafflingly loyal mistress (Sybil Danning), all of whom would give anything to acquire the "Eyes of Alexander", two huge, perfectly matched star sapphires. When Elsa is murdered, Marlowe's interest in solving the case becomes personal, and he sets out through a labyrinth of Los Angeles landmarks, including the Hollywood Bowl, the scatological and esoteric attractions of Hollywood Boulevard, and Santa Catalina Island in pursuit of the rocks, determined to get at them before either of the two wealthy competitors. Throw in cameos by Mike Mazurki and assorted others, the traditional dumb-but-sympathetic ally on the police force, and a plethora of nicely drawn character turns that provide dimension to practically all players, and despite an unfortunate title song, you have, to my mind, a thoroughly enjoyable movie experience.

The Man with Bogart's Face sets it self up to mine the viewers nostalgia for the late 30's-late 40's film era. It fails miserably for several reasons. First, Sacchi, while looking reasonably like Bogart and even speaking like him on occassion and using his mannerisms, completely lacks any of Bogart's charisma or acting ability. This is really apparent whenever Sacchi is not clearly imitating a scene from one of Bogart's films. Second, the film does not have the first rate character actors Bogart was able to work with. There are no Peter Lorre's or Sydney Greenstreet's in this one, folks. Sure we are treated to performances by Victor Buaeno, Olivia Hussey and George Raft amongst others, but they just aren't of the same caliber (or aren't given enough screen time or are miscast). Third, the attempts at "modern" humor all fall through. All of the underwear jokes, having Marlowe almost *never* remove that damn hat and trench coat (even though Bogart would have), etc. just aren't funny and really pull down this film. Fourth, I've never heard a goofier theme song this side of Mitchell. Finally, the film's false reverence for Bogart (and other classic actors work) is truly irritating. Bogart almost *never* played a straight hero, on those occasions he was a hero. He played complicated characters. This movie makes Bogart out to be a trigger-happy, moralistic do-gooder. While this may have been true about some film characters, Bogart's characters rarely fit that bill. It's movies like this that make people unexposed to the cinema of the past think that all of it is hokey, "good guy beats the bad guys and gets the girl" crap with low production values.

Sacchi is the best Bogart impersonator ever... dry and droll as Sam Marlowe. The music from award winning composer George Duning [From Here To Eternity, Picnic, The World of Suzie Wong], the cinematography of perfect locations [including the famous Ambassador Hotel] are all right on target as famous tv director Robert Day [Kojak, Streets of San Francisco, The Avengers] guides the most endearing group of well-known character actors through a spoof of every dark detective film every made. See this if you loved all the old serious flicks and have a sense of humor... this one is a hoot.

There is certainly truth in advertising here. The Man With Bogart's Face is exactly what this is about. Robert Sacchi is an actor who has made a living on his resemblance to the movie legend. This film is a homage to Bogey and a whole load of familiar players from the past were gathered together for a spoof, of those old classics of Bogey's and many others.

I'm sure a few of these people were grateful for a paycheck. One i know who was was George Raft the only one in the cast who actually worked with Humphrey Bogart. The IRS left Raft pretty much on his uppers and this was his farewell performance. He died later in the year.

My favorite was Misty Rowe doing her Marilyn Monroe shtick as Sacchi's secretary.

It's an amusing film in spots, but The Man With Bogart's Face is really one long and thin joke.

Sacchi's really should have done a one man Bogey show. Maybe he did.

Almost missed it. While visiting friends in Philadelphia sometime in the early 1980`s, I was channel surfing after everyone else went to bed. It wasn`t just Bogart he was obsessed with; but rather the entire era of those old flicks those of my age know so well. Add to that a plot liken to The Maltese Falcon - where so many different characters were interacting with Sacchi - and you have a piece of art as far as I`m concerned. About ten years later it appeared on TV and I taped it. >

Making this short and to the point. This movie was great! I loved it! I actually picked this up at a Hollywood Video for 3 bucks on VHS and watched it about 5 times in the last couple weeks. I'm a big Bogart fan and I just latched onto this movie. I thought the song was funny and now have it as a ring tone on my phone. Robert Sacchi is great and pulls off a good Bogart. His nose is a little big, his voice is a Bogart-Columbo mix, and he does a few things that are awkward but otherwise, he was fantastic and this film was wonderful. No one can be a perfect Bogart but he was great. Remember, Sam Marlow is a fan of Bogart and isn't going to do everything he did. He mentions a lot of other movies and does some things that were never part of the real Bogart's character's. But, it's so funny and hilarious and has a great cast, including some beautiful women. Watch it and have fun!

This movie is a very enjoyable homage to the Bogart and other detective films of old. Robert Sacchi nails it as Bogie and Michelle Phillips is a truly timeless beauty as Gena Anastas.

However, the most noteworthy portion of this film involves the longest belly dancing scene ever produced in a Hollywood film. One well-known professional instructor commented that nothing else in cinema comes close for dance excitement.

The scene, which ends up being an important part of the plot, occurs in a lushly beautiful Middle Eastern nightclub and is by all accounts mesmerizing. The pulsating music, the swirling veils and ringing finger cymbals, free-flowing undulations and beautiful costumes - and a surprise twist involving the seductive Sybil Danning - build tension and excitement until the very end.

The three talented and beautiful professional nightclub dancers are led by exotic brunette beauty Kamala Almanzar, one of the US' leading belly dancers since the mid-1970s. She was hand-picked by famed Armenian musician Guy Chookoorian to travel with his orchestra on the road. Guy's ensemble is the live band that the dancers perform to in the scene. If you watch the trailer on this site, you will see a glimpse of Kamala (playing the finger cymbals behind Sybil Danning).

If you're not yet a fan of belly dancing, you will be after watching this movie, and if you're an aficionado, it holds up very well after repeated viewing.

Wow... Ok, Bogie fans, here's a unique treat for you -- a perfectly excellent noir detective story led by Robert Sacchi doing a holistic Humphrey Bogart impression so near-flawless that it's, paradoxically but truly and lovingly, a Bogie movie without Bogie. And a pretty darn good one at that.

Sacchi nails Bogart's look, voice, phrasing, facial expressions, posture, mannerisms, and cool suave. In fact, the only reason I said "near" flawless is that in some of the mannerisms he's too good. Meaning, he could have backed off a bit on the pointing, hand-to-lips, and face-twitch. He duplicates those Bogie quirks flawlessly, he just did them perhaps too often. Still, the performance is miraculous and only about .01% away from Flawless.

The wardrobe department nails the clothing (except for the paisley bathrobe... that one was a misfire). And the script captures not just the genuine hard-boiled spirit of Bogie's private dicks but also the emotional and ethical subtleties that Bogart displayed in most of his characters (with one exception -- a single line, an attempt at humor that was too lecherous for the character). Another smart feature of the script is its clever, un-forced nods to Hollywood history. But the dialog doesn't just re-use lines from actual Bogie films, it creates new quotables that are totally worthy of Humphrey Bogart's film legacy.

Other than the bathrobe, the theme song is the only truly bad thing about this movie (and it is genuinely atrocious!). But excusing those items and the photography in a few scenes looking like grade B 70s television production (modest budget), this is truly a great movie.

Ex-cop turns private eye after he has plastic surgery to look like his movie hero. Send-up of 40's Bogart films will probably offend fans. Skewers familiar film noir scenes and characters, sometimes with subtlety. Similar to "Dead Men Don't Wear Plaid" (1982) and "The Cheap Detective" (1978). (Rating: B+)

I originally looked this movie up to check out the performance of Olivia Hussey. She was inspiring in her "Romeo and Juliet" and I wanted to see more of her. Unfortunately, she is only given a bit part, and then killed off? She does have some funny moments though when talking about her missing father. Her name was Elsie Borsche, and her father's name is Horsche borsche. Which she delivers with a straight face in a bantering dialogue with the Bogart guy...hysterical! Being a huge "Alexander the Great" fan I was intrigued by the imagery and allusians throughout the film on the genre. A boat in the background is named "Euridice", the film is centered around two large (palm sized) deep blue sapphires which were inset into the eye sockets of a marble head of Alexander himself. One of the main characters was named Alexander. According to the movie script, legend stated that it was the last thing that Alexander laid eyes on before he died. Rest assured this is fictional. The film ends with the camera focused on the gems lying on a bed as the credits rolled by. It's been a few years since I viewed the film, but if you like all things Alexander, this film is worth checking out just to find all the little background features related to his genre. With several films coming out on the great conqueror soon, (2004-05), it might be also worth your time just for the fun of it. If you're interested in seeing a regurgitated Humphrey Bogart you'll likely be disappointed. I am too young to really know what Bogart was like, but clearly the similar face and dead pan vocal style of this actor is as close to the real Bogart as this film gets. I also got the feeling that they started out with a concept of making a Bogart spoof film, and ended up with a historical/comedic/mystery. As an afternote, their is a scene with a shark at the end of the film which attacks a character and supposedly bytes off the prosthetic arm which was holding a pouch containing the gems. In this film era,(thanks to Jaws) every time a character entered the water, a shark attacked him...it was expected. This scene alone dates the film to the late seventies/early eighties, without even knowing outright that it was released in 1980. Overall, the film is not much more than a B movie destined to live out its days molding in some closet of a Hollywood producer and then likely just disappear. The relative rarity of Alexander films makes it worth owning for the hardcore Alexander fan, but unless you want to do a filmography on Olivia Hussey or one of the other up and coming stars of the era, avoid at all costs...which shouldn't be hard to do given the fact that you'll probably have to special order it anyway. It's been fun commenting on this film, and I welcome any questions about Alexander the Great.

I usually dislike detective films, I mean I don't particularely like gumshoe films, which I rarely undertsand, because of the too complex plots. But here, this is an exceptional piece of work, funny, totally crazy and a fantastic tribute to Humphrey Bogart and his legend. Again, as for any private eye film, don't bother the details of the story, it's not important at all. Just enjoy and pay attention to those old actors such as George Raft, Yvonne De Carlo, Victor Buono. Useless to say it is a light hearted film, nearly a comedy and it could never had been a novel; only a movie. And it was actually a book. I hardly believe it. The director Robert Day was a British film maker who gave us some TARZAN adventures in the sixties. Good little, very small tribute to Gene Tierney for LAURA about which we can hear a bit of David Raksin's music. Yvonne de Carlo has a too tiny role here, if only tou sneeze, you'll miss her. She appears in the party, no lines. She deserved better. Poor Yvonne.