The Maltese Falcon

The Maltese Falcon is a perfect example of 'rose coloured glasses'. The script is so bad/'first draft' you have to witness it to believe it! OK emotional realism wasn't a big thing back then but these characters are so wooden that it's impossible to feel anything for any of them. Mary Astor's role is so corn ball theatrical you wonder how she was even considered a real actress? The rest of the actors are cartoons at best. Bogart is Bogart and almost likeable but the end not even he seems like a real person. If you're like me you put this on your 'films to see before you die' list know this, if you do see it you will have wasted nearly 2 hours of what you had left of your life. Why John Huston is considered a good director dumbfounds me to say the least? I wanted to stop half way through but like a car accident I just have to watch it thinking it couldn't get any worse, well it does, far worse. A stinker!

As "classic" as this '41 version is, Roy Del Ruth's underrated original '31 version beats it out in a number of ways. Spade's relationship to women is much better defined in the original. Bogart kissing Archer's wife at the start of the '41 version feels like a throwaway. It's easy to forget they even had an affair half way through the movie. In the original it's a defining moment for Spade - painting him as a true womanizer. The film shows that Archer knows what's going on and isn't happy about it. Spade's happy/sleazy persona in the original makes much better sense than Bogart's tough, smirky one. While it's lovable, it doesn't service the drama as well. In the original, when Spade is alone with Ruth Wonderly at his place you wonder who is exploiting who and there's a lion's share of real sexual tension. It feels dirtier and truer despite being shot ten years earlier. It's great to watch. In Huston's remake, Bogart's too smart to be gotten and there's so little actual attraction it's all cat-and-mouse with no real chance of romance. When Ruth finally comes over to Bogart's apartment, Houston puts Cairo in the scene before the cops arrive. This kills all the sexual tension, turning it into more increasingly convoluted cat-and-mouse writing rather than something relatable. There are elements Huston added to the '41 version that further convolute the story. The entire scene in which Bogart messes with the Wilmer character in the hotel while speaking to Joel Cairo about his night at the police station is unnecessary and confusing. It's a scene that is smartly not in the '31 version. Lastly, the ending is so much more profound in the original that the '41 version doesn't hold a candle to it. "The stuff that dreams are made of" is a famous Bogart line, but is a sad compensation for the power of the original conclusion in which Ruth actually does fall for Sam, but he realizes it after it's far too late. The final scene takes place between them when he comes to visit her in prison, after getting a promotion. It's astonishingly heartbreaking and extraordinarily well done. History be damned. Incidentally Houston was nominated for a screen writing Oscar for this script. If you look at how much of the structure and screenplay remain the same in his remake, it's an outrageous nomination. The things Houston added actually detract from and confuse the narrative rather than making it better in any way. See the original!

source: The Maltese Falcon

While there are films that are considered classic for their technical achievements and classics that resound with audiences for a feel-good emotion, The Maltese Falcon stands in that group that is a classic for every aspect of its creative makeup. With a brilliant script, talented direction and some outstanding performances, The Maltese Falcon stands up today as well as it did upon release. When Sam Spade -- played brilliantly by Humphrey Bogart -- and his partner Archer are hired to tail a rich eccentric by a woman who claims her sister is being unwittingly kept separated from her by the rich eccentric, it seems like just another case. But when Archer and the eccentric are gunned down and all fingers point to Sam Spade for conflicting yet damning reasons, Spade is thrown into a whirlwind of deceptions that all point in one direction: a Maltese statue of a falcon. Bogart demonstrates clearly why he is one of the great classic actors of the 20th century, and indeed one of the most natural screen actors ever. His charisma, charm and intense masculine looks give him a presence that simply dominates the screen. With a host of other great talents to fill the screen, there is not a moment of wasted performance. The direction is tight and driving and the pacing never lets up. And the script demonstrates why there are less and less truly great films being released in present day: the writers and directors of the golden age of cinema knew that subtlety works ten times more effectively than the modern in-your-face all-the-time works. The Maltese Falcon is a timeless work that deserves its place in the list of greatest films ever made.

Another of those uncomfortable times where I have to step up to the plate as one of the few who finds a universally revered "classic" Overrated. THE MALTESE FALCON does have much going for it: It's got one of Humphrey Bogart's greatest performances as tough detective Sam Spade; some sensational dialogue; smart casting in Peter Lorre, Sydney Greenstreet and Elisha Cook, Jr. (Mary Astor - not as smart); dark and brooding noir photography; but the most important thing goes wrong -- the plot is so highly convoluted, full of holes, and so nearly impossible to follow that it makes for a real headache-inducing 100 minutes. I liked the characters and actors so much that I really "wanted" to get involved in the story. But everything was strewn all over the place and confused me enough that I was prevented from fully getting into the movie. There have been some films that seemed incomprehensible to me at times, but as long as most of their loose ends become tied up by the time the end credits begin to roll, I'm usually a happy moviegoer. FALCON did not afford me that privilege and was very hard to follow. I can't consider that the mark of a great motion picture. **1/2 out of ****

"The Maltese Falcon", scripted and directed by Hollywood first-timer John Huston (from Dashiell Hammett's novel), would go on to become an American film classic. Humphrey Bogart chews the scenery in his star-making turn as acid-tongued private eye Sam Spade, whose association with the beautiful and aloof Brigid O'Shaughnessy (Mary Astor), neurotic Joel Cairo (Peter Lorre), and morbidly obese Kasper Gutman (Sydney Greenstreet, in his Oscar-nominated screen debut) over the recovery of the title object, sets in motion a movie experience that is as much crackling as it is dazzling. While much of the action and dialogue is considerably dated by modern standards, the film's essential power to mystify and entrance remains undiminished despite its age. While this was the third adaptation of Hammett's story (the first was made in 1931 and the second was "Satan Met a Lady" (1936)), this is also the best remembered and most praised, due largely in part to Bogart's seemingly effortless portrayal of the tough but softhearted, world-weary hero. Mary Astor and Lee Patrick were, respectively, the definitive femme fatale and girl Friday, and the villianous roles of Cairo, Gutman and Wilmer (Elisha Cook Jr.) were equally remarkable. What may not be wholly obvious is the fact that these three men have homosexual tendencies (as given in the novel), but just look at what's given: Cairo's delicate speech and manner, Wilmer's questionable quick tempered attitude towards Spade (could this be covering up the fact that he finds Spade attractive?) and Gutman's clutching of Spade's arm when Sam arrives at his hotel room. A polished film noir that gave rise to Bogart's mounting popularity. (Sidenote: The character of Sam Spade was originally offered to George Raft, who turned it down. Raft also turned down "Casablanca" (1942), "High Sierra" (1941) and William Wyler's "Dead End" (1937), all of which went to Bogart and helped to boost his star status. Bogart had Raft to thank for his enduring popularity.) A must-see masterpiece. ****

The Forties were the years when Hollywood decided that the mystery thriller deserved big-budget, big-star treatment, threw up a new kind of hero who was exactly right for his time: they were the fabulous years which established the private eye adventure as the irremovable all-time favorite in the whole field of suspense… The field was so rich, the choice so lavish in that decade, that it was difficult to know where memory should stop and call "Encore". As the author of the screenplay, Huston made every effort to do justice, and remain faithful, to Dashiell Hammett's novel… But in remaining faithful, the newest version asked audiences to accept the complicated plot at its full strength and that is where the film's main flaw occurs… Names, murders, and intrigues turn up so quickly that it is extremely difficult to understand exactly what is happening in this tale of an assortment of characters in search of a fabulous jewel-encrusted statue Probably in no other film will a viewer find a gallery of such diverse human beings whose perfect1y constructed portrayals remain permanently locked in one's memory Mary Astor's Brigid O'Shaughnessy is a striking picture of feminine deceit and betrayal… Able to shed tears on command, she is a confirmed liar who can be as deadly as she is beautiful; she can make passionate love to Bogart, but wouldn't hesitate a moment to kill him if it suited her plan… Her performance is surely one of the screen's most brilliant portrayals of duplicity masked with fascination Sydney Greenstreet, in his movie debut, was equally memorable as the menacingly mountainous man behind the search for the elusive black bird, and almost stole the picture… Cunning, determined, appreciative of the fine arts, Greenstreet—who seemed to get more dangerous as he got more imperturbably polite—is a man who would devote his entire life to a single quest if need be Peter Lorre's Joel Cairo was a resolute picture of classic villainy… With curled hair and impeccably clean dress, he is an unpredictable accomplice of Greenstreet, difficult to deal with But it is Bogart's portrayal of Sam Spade that remains classic in its construction… Obviously cynical, he still maintains his own code of ethics which he adheres to faithfully… He is doubtful, but not foolhardy… He is courageous, but not without fear… Spade uses everyone he comes in contact with… He wins not because he's smarter than his enemies, but because he is the only character in a central position… Spade is every bit as ruthless as the crooks who try to use him… His tactics in dealing with them, however, are necessary for his survival... His treatment of the two women in the film seems equally as harsh, but neither is a wide eyed innocent and both attempt to deceive him in one manner or another… His exchanges with Brigid O'Shaughnessy are electric... Their mutual attraction is undeniable... But Spade will play the fool for no woman… He is a loner, but he has contacts, and knows where to go for what he wants… Even with very little money, he is totally incorruptible… He has no apparent friends… He is laconic, but he can throw a wisecrack as fast as he can throw a punch... "The Maltese Falcon" molded the image we remember of Bogart all through the early years of the Forties—an image elaborated upon and reinforced in "Casablanca," and the one which all Bogart fans remember with great affection and admiration

The Maltese Falcon is a 1941 detective/crime noir film, directed by John Huston and stars Humphrey Bogart, Mary Astor and Lee Patrick. Often considered a classic by many, a masterpiece by some and overrated by others one thing is certainly for sure...I have never been so disappointed and my expectations of a classic movie completely crushed like I was with The Maltese Falcon. While it does have a few saving grace moments overall The Maltese Falcon is a rushed, terribly written and at times a unnecessarily confusing film with unlikable characters and uninteresting plot. Lets however start with the few 'saving grace' moments in the film, first of all the initial murder of Miles Archer fantastically introduces us to this gritty world filled with lies, deceit and corruption. The scene itself was very well shot and gives the story a strong start ( which unfortunately later falls apart), the next is the very ending scene in which Sam Spade (our protagonist) utters that famous line 'The stuff that dreams are made of' which ends the film brilliantly and completes both the character of Spade and the movie's narrative in a conclusive and well rounded manner. The rest however is a huge mess, the dialogue is rushed, many scenes often feel either completely unnecessary or cut off too short, failing therefore to buildup tension or suspense. The characters communicate in a very unrealistic manner, one minute arguing the next siding with each other and then back to arguing without any real reason, all while completely hurrying through their lines and lacking any emotion. However, the script writing is by far the worst part, more than to often Sam Spade often seems to stumble over his lines, ramble on and moan and whine his way through, completely butchering any care or likability we feel for his character. The same can be said about Mary Astor's character, one minute playing the damsel in distress and love interest- the next being a traitorous coward. Overall, The Maltese Falcon is a huge disappointment with awful script writing, bland uninteresting characters, an over complex plot, subplots that seem to go nowhere or are abandoned entirely, a simple plot device that seems to drive all motivations to the characters (yet has a very little part to play in the overall story), horrendously forced and rushed dialogue and badly crafted scenes either consisting of nonsensical rambling, long drawn out conversations that progress nowhere or cut short destroying any emotion, tension, drama, suspense or interest. 3/10

The Maltese Falcon has a totally atypical Hollywood history. After two previous filmings of Dashiell Hammett's novel, the third time a classic film was achieved. Usually the original is best and the remakes are the inferior product. These characters that John Huston wrote and breathed life into with his direction are so vital and alive even 65 years after the premiere of The Maltese Falcon. You can watch this one fifty times and still be entertained by it. I'm not sure how the code let this one slip through. Humphrey Bogart as Sam Spade is partners with Jerome Cowan in a detective agency Spade and Archer. Client Mary Astor comes into their office requesting help in getting rid of a man who's intruding in on her life. Jerome Cowan as Miles Archer eagerly takes the assignment and gets himself bumped off for his troubles. Cowan is quite the skirt chaser and he certainly isn't the first or the last man to think with his hormones. That's OK because Bogart's been fooling around with his wife, Gladys George. That gives the police, Barton MacLane and Ward Bond, motive enough to suspect Bogart might have had a hand in Cowan's death. As fans of The Maltese Falcon are well aware, there's quite a bit more to the story than that. Bogart's investigation leads him to a crew of adventurous crooks, Sydney Greenstreet, Peter Lorre, and Elisha Cook, Jr. who are in pursuit of a statue of a Falcon that is said to be encrusted in gold and precious jewels. The Maltese Falcon is a milestone film role for Humphrey Bogart. It is the first time that Bogey was ever first billed in an A picture while he was at Warner Brothers. In fact this is also John Huston's first film as a director. He had previously just been a screenwriter and in fact got an Oscar nomination for the screenplay he wrote here. There are some who will argue that this first film is Huston's best work and I'd be hard up to dispute that. After a long career on stage The Maltese Falcon was the screen debut of Sydney Greenstreet. Greenstreet may be orally flatulent here, but there's no doubt to the menace he exudes while he's on screen. Greenstreet got an Oscar nomination for Best Supporting Actor, but lost to Donald Crisp for How Green Was My Valley. Greenstreet created quite a gallery of characters for the next ten years, mostly for Warner Brothers. A favorite character of mine in The Maltese Falcon has always been Lee Patrick as Effie, the secretary at Spade&Archer. She's loyal, efficient and crushing out on Bogey big time. This and the part of Mrs. Topper in the television series Topper are Lee Patrick's career roles. I never watch The Maltese Falcon without hoping that Bogey will recognize how really "precious" Effie is. The Maltese Falcon will be entertaining people hundreds of years from now. And please no more remakes of this one.

Trailer—The Maltese Falcon