All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
The Maltese Falcon
A story as EXPLOSIVE as his BLAZING automatics!
Spade and Archer is the name of a San Francisco detective agency. That's for Sam Spade and Miles Archer. The two men are partners, but Sam doesn't like Miles much. A knockout, who goes by the name of Miss Wanderly, walks into their office; and by that night everything's changed. Miles is dead. And so is a man named Floyd Thursby. It seems Miss Wanderly is surrounded by dangerous men. There's Joel Cairo, who uses gardenia-scented calling cards. There's Kasper Gutman, with his enormous girth and feigned civility. Her only hope of protection comes from Sam, who is suspected by the police of one or the other murder. More murders are yet to come.
Here's what I love about film noir: nobody gets to be an angel. No sentimentality, no melodrama, just tough characters who quip their way in and out of unsavory situations. Needless to say, The Maltese Falcon ticks every box on my list. And it isn't just a film noir; it's the first major film to be recognized as such, and therefore one of the most influential films in the genre. And boy, does it live up to expectations.
Being both a cinephile and a bibliophile, I felt obliged to read the The Maltese Falcon before watching the film adaptation. Dashiell Hammett's novel was a perfect candidate for the big screen: minute descriptions, unique characters, and colorful dialogue that was just…
Jam-packed with twists n turns from start to finish, presenting Humphrey Bogart in one of his most impressive roles, and also marking the feature film debut for esteemed filmmaker John Huston, The Maltese Falcon is regarded by many as one of the first examples of film noir and although its plot is always on the move, I wasn't entirely enthralled by it.
Based on the novel of the same name, The Maltese Falcon tells the story of Sam Spade; a private investigator in San Francisco who takes on a case that results in his partner's death on the very first night, and involves not only his beautiful client who's very manipulative but three more eccentric criminals, who are on a…
John Huston's 1941 adaptation of Dashiell Hammett's The Maltese Falcon opens with a text scroll detailing the history of an ancient treasure. This short introduction could not have been more prophetic, because The Maltese Falcon is a true treasure. This is the quintessential film noir, a movie I don't mind calling perfect, as it tells the story of a slick private investigator who gets tangled up in the convoluted quest to obtain a legendary falcon statue. Whenever I get around to making my all time favorites list, I'll be surprised if this doesn't perch near the pinnacle of it. If you are like me, and haven't before seen this classic, then stop reading now, because the less you know going…
I don't mind a reasonable amount of trouble.
Some films are credited with defining a particular genre. The Maltese Falcon didn't define a genre, but it helped create one. It was film-noir before the term film-noir existed. While it's arguably not the first to be considered noir, it is still regarded as the first by a major studio. It isn't however the first adaptation of Dashiell Hammett's novel, but actually the third.
For John Huston's directorial debut it seems odd that he would attempt a third adaptation of a novel that was barely over 10 years old, but he had an idea that stood out from the others. The script is practically a direct translation of Hammett's novel.…
It was Louise that highlighted my ignorance of movies from pre-1960 a few weeks ago, and although I'm still pretty much a novice when it comes to thirties and forties films, I'm slowly but surely enlightening myself with some classics. Following the likes of the Errol Flynn and Olivia De Havilland starring swashbucklers, it was time to check back in with Mr Humphrey Bogart.
The Maltese Falcon has another of those casts that made the likes of Casablanca so good. Reuniting Humphrey Bogart, Peter Lorre, and Sydney Greenstreet, this movie is unofficially the first of a genre. A film noir of the highest order, this requires concentration with all the twists and turns and has a level of mystery to…
None of the characters embroiled in the ever more mysterious saga of the falcon are likeable yet they are so utterly compelling to watch. Each one has their vested interests to protect and none of them are willing to reveal exactly what they are. Cards are clamped closely to their chest and the most stringent poker faces assumed.
The Mcguffin at the centre of it all almost makes a brief appearance whilst in reality the genuine bird probably doesn't exist at all. It's the perfect symbol of money and power, sought after by men who place its significance above any financial burden it may cause. To hold and possess the statue puts you at the top of the pile, the…
this is probably one of the most direly nihilistic movies i've seen since blade runner. on 35
Good gracious, don't lose concentration for even a second or you'll miss it all. I really liked the idea of this movie and all its parts but the dialogue was just tedious and over complicated. I just felt unconvinced by a lot of it because it seemed so much effort went into the dialogue being snappy and spoken to impress that the characters fell into the background, especially Mary Astor who's swinging back and forth from false pathetic desperation to steely criminal was just silly.
Despite the great characters and Bogart being slick as grease, I didn't get the expected enjoyment out of this. The dialogue and plot is so fast that I had to rewind a lot, and even then I still don't entirely know everything that happened. This causes twists and events to lose their impact. Also, while the falcon itself will be one reason why some love this film, it felt so Macguffinly here that it didn't carry much weight for me. I almost think I would have just preferred a briefcase full of money. Maybe.
I guess some films just don't work out for you, but maybe next time I watch it I'll be able to keep up and wrap my head around this film, and hopefully it will click then.
Un détective est engagé par une séduisante jeune femme pour retrouver sa sœur, en réalité il mets les pieds dans une incroyable machination pour retrouver le faucon maltais.
Malgré son age le film reste très dynamique et agréable à regarder, on suit l’enquête et avance dans le complot en même temps que le protagoniste. C'est aussi le premier film de Bogart que je vois et bien que j'apprécie son style, je ne pensais pas qu'il était si "vieux" mais dans l'ensemble cela passe très bien.
Les personnages en particuliers sont géniaux (Joel Cairo, le garde du corps) et surtout The Fatman (Sydney Greenstreet). En plus de cela, le twist final passe bien et fait réfléchir sur toute cette course poursuite !
A voir pour regarder un très bon film des années 40.
A sort of rewatch in that I've seen it some long time ago. Couldn't really remember a lot of it though.
It doesn't really work for me. It seems to run as a play that's been converted to a movie. In itself not a bad thing but the dialogues and the settings seem awfully stiff and scripted.
+ Humphrey's kind of cool.
- Not enough everything for mister Generation Y here.
- The villains are more like the three stooges.
Incredibly quick-paced and slavishly faithful to the novel, it definitely deserves its classic status, but I wouldn't call it the greatest noir ever made. Bogart is pitch-perfect as Sam Spade, and Lorre and Greenstreet do great supporting work, and the dialogue is just as slick and snappy as it is in the book. But that's because it's the exact same dialogue, save for the famous last words. For someone who'd never read the novel, I'm sure it would be fresh and exciting, but for me, having just read the novel, it was kinda boring. Same with the story; I knew exactly what was gonna happen. This is only a minor knock against the film, because it's solidly directed by Huston and it's very entertaining. But it's not a masterpiece.
Got to see a 35mm print of this introduced by Leonard Maltin at the Virginia Film Festival. Truly a delight!
One of the greatest film adaptations of a book, largely accomplished by changing almost nothing from Hammett's tough, sleek masterpiece and finding the perfect cast to embody the characters. It's an utter joy to watch Bogart, Greenstreet, Lorre and Cook, Jr. interact. I'm less fond of Mary Astor. I think she does a pretty marvelous acting job, but I have never found her to be even the least bit attractive, so I find her jarring in this role. But that's a minor criticism that's more on me than the film.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!