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“... Because the man himself is so ungainly, it is easy to overlook Michael Moore’s voice. Where his body seems ungovernable and a source of embarrassment to him – he often can’t bear to watch himself on screen – his voice is confident, almost suave. There’s a moment in his least known movie, The Big One (1997), where he launches effortlessly into a gravelly imitation of Dylan singing ‘The Times They Are A-Changin’’ before reverting, with a chuckle, to his own spoken voice ...”

“... early 1950s broadened his range – Huston’s The African Queen (for which he won an Oscar), The Caine Mutiny (where he plays the paranoid Queeg quite naturally) – and before those there had been Key Largo (1948), another Huston picture, in which he is nicely matched with an odious gangster played by Edward G. Robinson. Bacall is in that picture too, but ...”

“... But there is something of the whiner in his Duke Mantee in The Petrified Forest, as there is in Rick Blaine’s self-pitying drunk scene in Casablanca. ‘Proof,’ says David Thomson of the latter in his Biographical Dictionary of Film, ‘of how far Bogart needed a great artist to help him rise above the level of maudlin resentment.’ Thomson suggests ...”