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				 "With deep sorrow, yet with great gratitude for her amazing 
				life, we confirm the passing of Lauren Bacall," the estate of 
				the Bogart family said on a verified Twitter account. 
 Bacall was married to Bogart from 1945 until his death in 1957. 
				They had two children.
 
 The public knew her as Lauren, the screen name hung on her by 
				director Howard Hawks, while friends used her given name, Betty. 
				Bogart simply called her "Baby" in a love story that ended 
				prematurely with his cancer death in 1957.
 
 She was born Betty Joan Perske on Sept. 16, 1924, in New York 
				City, the only child of immigrant parents. After her parents' 
				divorce, she adopted a variation of her mother's maiden name, 
				Bacal.
 
 Bacall had set out to be a Broadway star. She played small roles 
				on stage and modeled for Harper's Bazaar magazine, which 
				published a photograph of her that was spotted by Hawks' wife.
 
				
				 
 Bacall was only 19 when Hawks cast her in her first movie, 
				1944's "To Have and Have Not," as an American girl who shows up 
				at a seedy hotel in Martinique. She won a place in Hollywood 
				history with her sexy query to Bogart, "You know how to whistle, 
				don't you? You just put your lips together - and blow."
 
 Bacall and Bogart were married the next year after he ended his 
				turbulent third marriage to actress Mayo Methot. Bacall and 
				Bogart went on to star together in "The Big Sleep" (1946), "Dark 
				Passage" (1947) and "Key Largo" (1948).
 
 She appeared in more than 30 other movies, including "Young Man 
				With a Horn" (1950), "How to Marry a Millionaire" (1953) and 
				"Murder on the Orient Express" (1974).
 
 Still, Bacall's movie career was rocky. In such films as 
				"Confidential Agent" (1945) and "Bright Leaf" (1950), she 
				essentially played the same role as in "To Have and Have Not."
 
 A comic turn in "How to Marry a Millionaire" earned applause but 
				few of her other films were memorable and she became the 
				self-proclaimed "den mother" to her two children, Stephen, and 
				Leslie, and a regular crowd of Bogart's drinking buddies.
 
 Much of Bacall's allure came from what was known as "The Look," 
				a sexy but soft glance. She explained it by saying: "I used to 
				tremble from nerves so badly that the only way I could hold my 
				head steady was to lower my chin practically to my chest and 
				look up at Bogie. That was the beginning of 'The Look.'"
 
 
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			After Bogart's death in 1957 at age 57, Bacall had a well-publicized 
			affair with Frank Sinatra and a stormy eight-year marriage to actor 
			Jason Robards that produced a son, Sam, who would become an actor.
 Bacall worked occasionally in films in the 1960s and '70s, notably 
			in "Harper" (1966) opposite Paul Newman, the all-star Agatha 
			Christie hit "Murder on the Orient Express" (1974) and "The Shootist" 
			(1976), which was John Wayne's last film.
 
 Her career revived in fits and starts through the 1980s and 1990s, 
			culminating in her first Oscar nomination for her supporting role as 
			Barbra Streisand's domineering mother in "The Mirror Has Two Faces." 
			Bacall won the Golden Globe and several other honors for the role 
			but the Oscar continued to elude her.
 
			After her film career cooled, Bacall returned to the stage. She won 
			best actress Tony Awards for "Applause" in 1970 and "Woman of the 
			Year" in 1981. Over the years she had transformed her persona from a 
			willowy temptress with a come-hither look to a shrewd and worldly 
			woman.
 Of her career and life, Bacall once said, "I traveled by roller 
			coaster, a roller coaster on which the highs were as high as anyone 
			could ever hope to go. And the lows! Oh, those lows were lower than 
			anyone should ever have to go - 10 degrees below hell."
 
 She published two volumes of memoirs, "Lauren Bacall by Myself" in 
			1979 and "By Myself and Then Some" in 1996.
 
			
			 
			
 In 2009, the Academy of Motion Picture Arts and Sciences awarded her 
			an honorary Oscar "in recognition of her central place in the Golden 
			Age of motion pictures."
 
 (Reporting by Mary Milliken and Piya Sinha Roy; Writing by Bill 
			Trott; Editing by Sandra Maler)
 
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