User reviews

WWII hero and busy actor stepped into Bogart and Garfield's shoes for a third version of a Hemingway story, "To Have and Have not." The film is bare-bones, budget-wise, but makes good use of its Florida locations to tell the story of gun runners and romance among the the coastal folk. Murphy isn't half-bad in the lead role of a charter boat captain caught up in a smuggling scheme, although I could not quite get used to Murphy in a boat captain's hat (I was so used to seeing him in Army helmets and cowboy hats). Eddie Albert plays a very convincing bad guy, and the film is loaded with familiar faces of the period, including Paul Birch, John Qualen, Jack Elam, Herb Vigran and Everett Sloane. Worth a look, mainly for Murphy/

Ernest Hemingway's classic short story To Have And Have Not gets yet another remake, an independent production for Seven Arts that stars Audie Murphy taking the place Humphrey Bogart and John Garfield as Hemingway's iconoclastic fisherman/charter boat skipper.

No Lauren Bacall like slinky low voiced siren to take our hero's mind off business. In fact Murphy is happily married to Patricia Owens. But while he has a happy home life he owes some big money around Key West. His boat isn't even completely paid for and the bank is breathing down his neck.

Eddie Albert maybe the answer to his financial prayers. He wants to charter Murphy's boat for mysterious reasons for a trip to Cuba and remember this is 1958 and the Cuban government is rightly suspicious of strangers without proper clearance going to their island. In fact Albert is a gunrunner looking to sell to revolutionaries at a nice profit.

The film takes no political sides as to whether it favors the Batista government or the Castro revolutionaries. All you gradually learn along with Murphy is that Albert is one ruthless individual and quite the user.

Director Don Siegel shot this film on location in Newport Beach, California, curiously enough exactly where Michael Curtiz shot The Breaking Point, John Garfield's film of this story. Bogart's was done on the Warner Brothers back lot, none of them got anywhere near Papa Hemingway's beloved Caribbean waters. Siegel did keep the action going at a good clip.

Audie Murphy showed a bit of versatility here as an actor, taking a break from the B westerns he was doing at Universal. But Eddie Albert who when he does play a villain does remarkably well as he did in The Longest Yard and Attack. One never thinks of him that way, his image is forever fixed with Green Acres, but he was a favorite of mine and his range never ceased to amaze me.

The Gun Runners is your average B picture film about a controversial political issue in which it takes absolutely no sides.

A remake of "To Have and Have Not" based on the Hemingway short story. The plot is reset to the early days of the Cuban revolution. A charter boat skipper (Audie Murphy) gets entangled in gunrunning scheme to get money to pay off debts.

Director Don Siegel may be the third person to tackle this tale, but he is not working fro ma dry well. By updating the story to involve the Cuban Revolution (before its success), the film takes on new life and now works as not only a great story but something of a historical document. Assisting Cuban rebels in 1958 may have had a very different sense at the time than it does today after fifty-plus years of Castro.

This was the first feature from the fledgling Seven Arts Productions, before they went on to make "The Misfits" (1961), "Lolita" (1962), and several others, including a large number of co-productions with Hammer films.

The Gun Runners is directed by Don Siegel and adapted to screenplay by Daniel Mainwaring and Paul Monash from the Ernest Hemmingway novel, "To Have and Have Not". It stars Audie Murphy, Eddie Albert, Patricia Owens, Everett Sloane, Richard Jaeckel, Paul Birch and Jack Elam. Music is by Leith Stevens and cinematography by Hal Mohr.

It's The Cuban Revolution and boat owner Sam Martin (Murphy) finds himself unwittingly mixed up in gun running...

The Hemmingway novel had already been adapted with considerable success twice previously (To Have and Have Not (1944)/The Breaking Point (1950)), so why another variant on the source was commissioned is a bit of a mystery. As it happens, it's no dead loss without pulling up any trees.

Thematic heart comes by way of Sam Martin's moral compass, which is jarred when he learns he is quite simply in over his head. With an adoring wife at home (Owens) and his alcoholic best friend in tow (Sloane as usual good value), the human interest factor is above average. Albert gives quality villainy, with henchmen by his side, and the pic stands out for the moments of violence that take one by surprise.

There's some poor back projection work, but this is offset by some lovely location photography, with Mohr (Phantom of the Opera/The Lost Moment) also bringing some nifty monochrome shadings to key character interactions. Yet ultimately the plus point is with Murphy, who really pushes himself for Siegel, his performance deserved a better film, but as it is he lifts it above average and makes it a must see for his fans. 6/10

Although this is a well-made film, you have to wonder why it was thought "The Breaking Point" could be bettered. However it gave Audie Murphy an opportunity to expand his range in a non-Western role.

Audie plays Sam Martin who runs a charter boat out of the Florida Keys. It's the only film version that is set in the location of Hemingway's novel. Sam's business is in trouble, and he undertakes some illegal trips to Cuba running guns for Hannigan, an affable, but ruthless businessman played by Eddie Albert - proving that a charming villain is always more effective than a straight-out evil one.

Sam is married and resists the not overly strenuous advances of Hannigan's mistress Eva (Gita Hall). Gita was underutilised here, she looked blonde, cool and interesting; a missed opportunity really, it was this relationship that created much of the tension in "The Breaking Point".

Eventually it ends with bullet holes in much of the boat and most of the protagonists.

I still find Audie Murphy a fascinating screen presence. Film allowed us to stare eyeball to eyeball into the face that was about the last thing 250 of his country's enemies ever saw. Occasionally we see interviews with war heroes, but the movies gave us an intimate acquaintance with this one.

He was a complex guy and not universally liked, some thought him dangerous; he probably was. I once read "No Name on the Bullet", Don Graham's biography of Audie Murphy. Graham interviewed many people who knew him throughout his life and shed light on some of his military exploits beyond what was depicted in "To Hell and Back". Graham tells how Audie often went on solo missions to hunt down German snipers. It took nerve and skill, forged as a youth in the Depression when he hunted food for his family - one bullet, one kill.

In "The Gun Runners", Audie is tightly controlled showing little emotion. He didn't change much from film to film, but maybe his movies reflected that iron self-control that enabled a man to stand on a burning tank destroyer firing a machine gun for an hour, holding off scores of the enemy.

But that was all a long time ago and possibly a lot of people aren't interested in the stars in that way, simply demanding that the drama hold their attention. I would say "The Gun Runners" does that pretty well. I like the ending, which leaves us with a touch of doubt. It's a very watchable film on a number of levels.

It puzzles me why producer Clarence Greene and Seven Arts thought the public would go for yet another re-telling of Hemingway's "To Have and Have Not" when both the Bogart-Bacall and Garfield-Neal versions are so widely regarded as definitive. But here it is, and I must admit that Mainwaring and Monash have added a few more suspenseful wrinkles to the screenplay and that Audie Murphy does surprisingly well by the Bogart-Garfield role. The other players are equally adept, particularly Eddie Albert as the chillingly convincing heavy and the lovely Gita Hall (in the first of only two movies, alas). And it's always good to see players like Richard Jaeckel, Herb Vigran and Jack Elam in roles that allow them to display their talents.

Beautifully photographed by Hal Mohr on actual Key West locations, the movie also gives director Don Siegel some splendid action opportunities which he handles in his usual dramatic style, although the climax itself seems somewhat truncated by comparison with the preceding versions.

Although babyface Audie Murphy is not cut out for this role, it's a pretty good B-film to watch....

Sam Martin and his wino mate, Harvey, run fishing expeditions out of Key West. However, Sam has run into bad times, and, with mounting debt, he is threatened with losing his boat and, thus, his livelihood. When a seeming tourist named Hannagan with a Swedish blonde in tow hires Sam for a quick and illegal trip to Cuba, Sam needs the money and agrees, unaware of the true nature of the cruise. Adapted from Ernest Hermingway's novel, To Have and Have Not, which was previously filmed in 1944 with Humphrey Bogart, "The Gun Runners" is a tight, engaging B film directed by veteran action director Don Siegel.

While Audie Murphy as Sam is no Bogart, he is adequate in the part, although his romantic scenes with Patricia Owens as his wife are awkward and unconvincing. However, Eddie Albert as Hannagan, the duplicitous gun runner, is colorful, and his performance stands out. Everett Sloane as Harvey is also good. Hal Mohr's crisp black and white cinematography is another major asset, especially in razor-sharp close-ups of the principals.

While not on a par with the Bogart classic, "The Gun Runners" is closer to Hemingway and restores the Key West locale, although the action is updated to feature the Cuban Revolution. The relatively short low-budget feature is worth a look and should appeal to fans of Audie Murphy and, especially, to followers of Don Siegel's career.

Most Decorated War-Hero of WWII...Audie Murphy...by 1958 had a Decade Long Career in Mostly Westerns,

would Go On to 50 Roles in Movies and TV, took the Challenge of Comparison to Humphrey Bogart and John Garfield. Both Considered Class-A Actors, and Enjoyed Great Popularity.

Murph was Never in Their League, but a Proven Fighter Nevertheless,

was Up for a Choice Icon of Literature, Ernest Hemingway, and Americana and the 2 Aforementioned Top-Notch Performers Did Not Dissuade the "Medal of Honor" Recipient and the Opportunity to "Be All That He Could Be" as an Actor.

Audie Murphy is Quoted Deep in His Career..."Acting was a battle I never won."

This Version was Directed by the Great B-Movie Director Don Sieger, who Populated the Picture with a Talented Cast. And the Script was Written by Another Proven-Pro, Daniel Mainwaring.

It's Got a Lot of Siegel's Style, of Pulp-Panache,

He Could Get "Bang-for-the Buck", and Impressed Critics and Fans with His Hard-Boiled, In-Your-Face Action, that was Economy Film-Making at its Best.

Murphy Did His Best and it's a Solid Outing. Film Critics were Never Kind to an "Audie Murphy" Movie,

with the Exception of a Few Big Pictures Like His Autobiographical "To Hell and Back" (1955) and "The Red Badge of Courage" (1951).

His Filmography is Full of Under-Rated, Low-Budget Gems, and those Critics, it can Now be Said, Historically, that His Huge Fan-Base was Right.

Most of His Movies are Above Average and Murph Always Delivered.

While this Film will Always Rank 3rd Behind "To Have and Have Not" (1944) and "The Breaking Point" (1950), but a Respectable 3rd.

It is a Fine Film and is a Must-See for Audie Murphy and Don Siegel Fans.

For All Others, it's...

Worth a Watch.

Sometimes you see a film and wonder why it was even made in the first place. A great example is "The Gun Runners". It's based on a Hemingway story and was already made a couple times before this...and the most famous is "To Have and Have Not"...one of Humphrey Bogart's better films. Now I have nothing against Audie Murphy, but I would never imagine wanting to see him starring in a movie instead of Bogart. After all, this IS Bogart...one of the finest actors who ever lived. The only big difference is that the film is partially set in Cuba, as the Cuban Revolution was in full swing.

Sam Martin (Murphy) is in dire straights. His boat charter business is having a slow patch and creditors are threatening to seize his boat. Because he is so desperate, various crooks try to get him to agree to some illegal activities...such as running guns. But Sam is ademant...at least for a while. But when some rich guy (Eddie Albert) charters his boat and then asks him to take a side trip to Cuba, he's so desperate that he'll do it. What's next? See the film...or not!

So how is this film different from the Bogie version? Well, apart from the Cuban angle, the changes are minor...such as Sam having a wife. As a result, the story is interesting like the original but not especially so. The basic story is still quite good. My advice is to watch one or the other....not both. And, of them, I'd pick the Bogart one simply because he was pretty amazing in the lead.

This is a Don Siega LL film some it's always going to be interesting. Whilst I found it entertaining the casting was unusual to say the least Audy Murphy was a bit out of his depth in the Bogart part. Eddie Albert played against type as the villain.

I picked this movie out because Don Siegel never produces garbage in fact it is almost guaranteed quality what ever the budget...and this movie has a B grade budget.

Audie Murphy and Eddie Albert star in this 1958 rendition of Hemingway's To Have and Have Not. It is an intelligent well filmed maritime adventure. Eddie Murphy is superb as the charming villain--I have never seen a better one. Audie Murphy is boyishly handsome and earnest as the hard up boat captain.

Well worth the watch. No politically correct baggage or tiresome social messages just action and gun running to Cuba.

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