The Maltese Falcon (1941)
June 27th 2010 06:39
The Maltese Falcon is the first feature from director John Huston, who went on to create films such as The Treasure of the Sierra Madre (1948), The African Queen (1951), and Prizzi's Honour (1985). A stylish beginning to the film noir 'genre', this classic was banned on US TV for several decades due to its underlying sexual tension.
Dark sets, long coats, double crosses and the smarmy unforgiving tough guy. Such the were elements of the Maltese Falcon that inspired a chain of 'noir' films that lasted up until the late 50's. It was here that a change took place with the archetypal cinema detective, influenced by writers such as Edgar Allen Poe and Ernest Hemingway (The Killers, 1946), who helped produce a harder edged hero within Hollywood.
The story centres on Sam Spade (played by Bogart), a street-smart wise guy who runs a detective agency with his partner Miles Archer in San Francisco. Business seems quiet until along comes Brigid O'Shaughnessy (who calls herself Miss Wanderly), after which nothing is the same. By the end of the evening two men are dead, and Miss Wanderly has successfully involved Sam in a crooked ring pursuing a rare and valuable statue called the maltese falcon. What follows is a multitude of double crosses, cocky one liners and tough guy provado, all coated in layers of dark smoky criminal style.
Heading back to the early 40's, I found it difficult at times to appreciate this classic, as the script (infrequently) is read out like a nervous schoolboy speaking in front of class (in some scenes from Mary Astor), and some of the dialogue feels a little staged. That said, there's plenty to like about this gritty film noir thriller.
John Huston did a credible job directing his first film, purportedly copying the script almost word for word from Dashiell Hammet's book of the same name (which Warner Brothers immediately liked). Huston was also alleged to have written tight story boards for every scene, whilst offering actors to contribute their own ideas. The result was roughly 20% of scenes coming from the actor's input, while the rest was pre-planned down to the last detail. Huston's assiduous approach also shone through in the film's style, with low-key lighting, smoky rooms and his take on the unconventional hero, all which set the stage for the spate of noir films to come.
It is fair to say that a huge attribute to the Maltese Falcon is the addition of Humphrey Bogart. As a second choice for the lead role (George Raft turned the part down), Bogart went on to create one of his more memorable performances. His wily, cocksure, style heavy display is constantly entertaining, and appears to hold the rest of the performances in check (there is barely a scene where he is absent). Indeed, the film seems to revolve around his role for the most part, with the exception of Peter Lorre, who brings charisma to his part as one of several double crossing falcon hunters.
The film's age may deter viewers entrenched in a more modern era, but even still, The Maltese Falcon is an entertaining film by today's standards. Bogart's performance, the brooding atmosphere and classic soundtrack make this a must see for lovers of film and style.
Four in season bananas out of five.
The story centres on Sam Spade (played by Bogart), a street-smart wise guy who runs a detective agency with his partner Miles Archer in San Francisco. Business seems quiet until along comes Brigid O'Shaughnessy (who calls herself Miss Wanderly), after which nothing is the same. By the end of the evening two men are dead, and Miss Wanderly has successfully involved Sam in a crooked ring pursuing a rare and valuable statue called the maltese falcon. What follows is a multitude of double crosses, cocky one liners and tough guy provado, all coated in layers of dark smoky criminal style.
Heading back to the early 40's, I found it difficult at times to appreciate this classic, as the script (infrequently) is read out like a nervous schoolboy speaking in front of class (in some scenes from Mary Astor), and some of the dialogue feels a little staged. That said, there's plenty to like about this gritty film noir thriller.
John Huston did a credible job directing his first film, purportedly copying the script almost word for word from Dashiell Hammet's book of the same name (which Warner Brothers immediately liked). Huston was also alleged to have written tight story boards for every scene, whilst offering actors to contribute their own ideas. The result was roughly 20% of scenes coming from the actor's input, while the rest was pre-planned down to the last detail. Huston's assiduous approach also shone through in the film's style, with low-key lighting, smoky rooms and his take on the unconventional hero, all which set the stage for the spate of noir films to come.
It is fair to say that a huge attribute to the Maltese Falcon is the addition of Humphrey Bogart. As a second choice for the lead role (George Raft turned the part down), Bogart went on to create one of his more memorable performances. His wily, cocksure, style heavy display is constantly entertaining, and appears to hold the rest of the performances in check (there is barely a scene where he is absent). Indeed, the film seems to revolve around his role for the most part, with the exception of Peter Lorre, who brings charisma to his part as one of several double crossing falcon hunters.
The film's age may deter viewers entrenched in a more modern era, but even still, The Maltese Falcon is an entertaining film by today's standards. Bogart's performance, the brooding atmosphere and classic soundtrack make this a must see for lovers of film and style.
Four in season bananas out of five.
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