Lane, Christina. “Humphrey Bogart.” St. James Encyclopedia of Pop Culture, 2002. <http://www.findarticles.com/p/articles/mi_g1epc/is_bio/ai_2419200117> [Cited5 Apr. 2006].

This biography of Humphrey Bogart simply details his life, primarily following his acting career.  The article gives a short description of Bogart’s life, following him through his expulsion from high school and his stint fighting in the Great War.  The article then spends an extended period of time covering his first few movies, and shows how Bogart developed into the masculine yet somewhat sensitive character he is famous for playing.

At this point the article takes a turn and puts its focus on his marriage to Lauren Bacall.  While the author notes that this was Bogart’s third marriage, she does not even mention the first marriage.  The second marriage is mentioned only in passing, when the author explains how unhappy the marriage was.  The discussion of Bogart’s marriage is concluded with a discussion of how well suited Bogart and Bacall were for each other, primarily because they were both strong willed characters.  While Bogart was known for his hot temper, Bacall was apparently able to quiet him with a stern glance.

The article then resumes its discourse on Bogart’s acting career, but notes that with America’s changing values after World War Two, Bogart bean to play different roles, as his old machismo could be seen as discomforting for those trying to recuperate from the war and its aggression.  Bogart’s career ended, according to the article, with several comedic roles, before he died of emphysema in 1957.  Humphrey Bogart was the protagonist in The Maltese Falcon, and as such his biography can be an important resource for anyone attempting to research the movie.

Crowther's article is the original review of Sabrina that appeared in the New York Times following its premiere in the city in September of 1954. The review is very helpful in understanding Sabrina's role as a film at that point in history: as is evidenced by this review compared to more contemporary pieces discussing the film, the difference in perception of the film is substantial. Crowther cites the film as "the most delightful comedy-romance in years," and imparts the kindest words upon Humphrey Bogart and William Holden; he claims it is their film as much as it is Hepburn's. This is a sharp contrast to modern discussions of the film, which nearly all focus on Hepburn and her style in particular.

At the time of the review, Hepburn was not yet the immensely famous star that she is remembered, and it is apparent that her "image" that would stand for years to come had not fully been developed. There is no mention of her couture ensembles or style beyond her "frail and slender" frame". Yet though the reviewer had very favorable words for the film, including director Billy Wilder's adaptation of a "recognized thin" play by Samuel Taylor, as evidenced by more recent criticism, the relatively light-hearted film would not have survived as powerfully without Hepburn's growing popularity as style icon.