All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
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…
I'm 5 films into a 100 film Films Noir course and everyone reading will have seen this and know why it's great so I wont write much.
But it does remain great, beyond the fact that it has been parodied and reused so much that the parodies and spoofs of what it created are themselves decades dead through overuse.
And I guess that is because of the faces; the plot and the dialogue and the very nature of the falcon itself have become cliche and withered but there's a moment where huston cuts from close up to close up, on the faces of Bogart and Greenstreet and Lorre and Astor and Cook and none of the imitators was ever able…
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…
A detective tries to solve the killing of his partner as well as the double-crossings involving a jewel-encrusted statue bound for the city. The prototype for film noir is exactly that for a reason. The bleak and symbolic cinematography mixed with the unsure yet fantastic performances are key to the film's success. Humphrey Bogart, in a role that is great but not quite his best (he's better in "High Sierra" the same year) succeeds as the quiet, smart Sam Spade. The supporting characters are all far more interesting though. Mary Astor steals the film as our femme fatale in what may be her best role (though "The Palm Beach Story" and "Dodsworth" also vie for that title), and Sydney Greenstreet…
"If you lose a son, it's possible to get another. But there's only one Maltese Falcon."
Have strange feeling with this movie. It’s fast and practical, something I like, but didn’t made for me in the end. Perhaps it’s too fast, or perhaps too dispersed. It’s considered a classic with good reason. The style is often talked about with this movie, because is predominant in a different way than expected –the way some shots are staged without being expressionism-ish or how strangely packed some scenes are with the furniture on the foreground and the corners all occupied, but found it distracting when didn’t needed and too fast when needed. A matter of taste. Although the story and characters are good, so it might be a good book what was adapted, and it definitely improved my impression since my first viewing, even though I wouldn’t considered it a favorite.
Scavenger Hunt 3! (23/30) "A Peter Lorre Film!": letterboxd.com/milo123/list/milo123s-scavenger-hunt-3-the-scavenger-ultimatum/
Film Noir is a genre that I've always wanted to watch more films in but never really got the chance, and when Peter Lorre came up in the Scavenger Hunt I knew it was the perfect excuse to check out The Maltese Falcon, which did not dissapoint, offering a truly awesome crime thriller that is a must watch for anyone mildly interested in the genre. It's something that I probably wouldn't have gotten around to watching otherwise, but I'm really glad that I gave it a shot.
Spade and Archer is the name of a San Francisco Detective Agency, and the two Detectives, Sam Spade (Humphrey Bogart) and Miles Archer (Jerome…
Film #19 of Scavenger Hunt #3
Item 23. A Peter Lorre Film!
This is one of those films I always heard about growing up, but no one ever wanted to watch it with me, so I missed out on it until now. And what a shame! This is the original film noir and lends itself to nearly every following film noir. It is a beautifully designed plot, great actors, and a wonderful sense of timing. I will now hold all film noir films to this standard, and sadly many won't hold up.
Definitive and paced like a bullet train.
One of the greatest American films of all time and certainly the first major film noir. An incredible feat for first time director John Huston who wrote the screenplay himself, adapted from the Dashiell Hammett novel. The Maltese Falcon succeeds not on the strength of it's plot but on it's characters. Humphrey Bogart, Mary Astor, Peter Lorre, and Sydney Greenstreet all deliver iconic performances. And to think it almost didn't happen. Bogart and Astor were only offered their parts after the roles had been rejected by others. Despite being an experienced stage actor this was Sydney Greenstreet's first appearance on film and his chemistry with Lorre was such that they went onto make 9 films together. This is the film…
Film 16/30 of Scavenger Hunt Challenge #3
Task #23. A Peter Lorre film
It's a film of a different era. An era where the good guy is always right, he's unaffected by things and he's a little rape-y... I recognize that this film is considered a classic - and is a quintessential mystery but it just didn't do it for me. There were too many scenes of people sitting around talking in one of four sets - I could've used an action sequence even if it were a dumb one just to change things up.
I really liked Peter Lorre in this film - he was the underdog when compared to Bogart. Bogart seemed to have the upper hand each time with Lorre - and when Lorre struggled it felt like he was humanizing himself - whereas Bogart was superhuman.
I thought the ending was kind of clever - with how the mystery turned out.
Mary Astor as Brigid O'Shaughnessy is simply one of the most intriguing and compelling femme fatales: she's not slinky or seductive or simpering, but poised and elegant and sensitive. She is morally questionable, but not immoral or amoral (certainly no more than Bogie's Sam Spade). She remains an enigma in a film that is otherwise simpler than it seems. Lorre and Greenstreet are also fun as hell as two would-be pirates.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!