Roy Earle is a man recently released from prison, finding himself adrift in a changed world. A somewhat questionable pardon secures Roy’s early release, and he emerges to find a job awaiting him—perhaps his final one before discovering love and settling down? However, Roy quickly realizes that things are different than when he left, the world prior to his incarceration. He encounters unfamiliar criminals, women who capture his attention, and even a dog challenges his sense of masculinity, but all these elements converge against the backdrop of the impressive High Sierra mountains! It’s quite remarkable; purchasing two DVDs reveals both films from 1941 are touted as Humphrey Bogart's breakthrough roles. I am referring to this film and *The Maltese Falcon*, a wonderful pairing. The truth is that both movies primarily demonstrate what an exceptional talent Bogart was, and importantly, his ability to infuse his characters with considerable emotional depth and intensity. Here, as Roy Earle, he delivers one of his finest performances from the 1940s, adding to a career filled with many other notable roles. Though made to appear older than he actually was (a testament to Perc Westmore’s work), Bogart portrays Earle as a tough and hardened man while simultaneously gaining the audience's sympathy through a professional demeanor that highlights admirable qualities within him. Directed by Raoul Walsh, scripted by John Huston, and starring Humphrey Bogart, it is evident that W.R. Burnett's novel is in capable hands. Functioning as one of the last significant films in the gangster genre, it’s clear that future Western directors were paying close attention, because what makes *High Sierra* so compelling is the sense of a man out of step with his time. A sensitivity permeates the film without diminishing its tension or atmosphere; the best adult Westerns to come in the next two decades would embrace this thematic element with considerable impact. Ida Lupino supports Bogart (and, as expected, she’s strong and an ideal counterpart to her leading man), while Alan Curtis, Arthur Kennedy, Henry Hull, Cornel Wilde, Henry Travers, and Joan Leslie (who overacts somewhat but doesn't detract from the film) contribute to *High Sierra*'s place among classic crime films of a golden era. Beyond its exploration of complex characters, *High Sierra* also delivers action; Walsh skillfully blends heart with energy for dramatic entertainment. The finale at Mount Whitney—the High Sierra itself being a constant presence and almost a character in the film—provides plenty of thrills for those seeking them. Ultimately, as the credits roll, Walsh’s camera leaves no doubt about what has driven Roy and *High Sierra* to their ultimate meaning, leaving us with a truly special and excellent movie. 9/10

Source on TMDB