The Maltese Falcon (1941)

 The Maltese Falcon (1941)

John Huston’s The Maltese Falcon is a masterpiece. This film is essentially a series of brilliant conversations interrupted by some violent interludes. You think for a second, ‘Uh oh, a talkative film…how boring!” Be prepared to change your way of thinking because its anything but. The flow and apt characterization are just some of the many things that hold this masterpiece together. The cast, starting with the fantastic Humphrey Bogart and brilliant Mary Astor, are exceptional. On the technical side of things, cinematographer Arthur Edeson and composer Adolph Deutsch prove how skilled they are with their respective crafts. The story itself is not the most original (as it is basically about trying to obtain a precious and rare object), but the three-dimensional characters, the excellent direction, and the editing/camerawork/score elevate that story into one of the best mystery thrillers of all time.

Some film historians call this film the very first film-noir. While this kind of story has been told in films and books prior such as the film’s novel, authored by Dashiell Hammett, it is this film that inspired other films of the genre; the use of shadows/lighting, the tough-as-nails lead character, and strong female characters. What a spectacular directorial debut for John Huston! The legend behind The Treasure of Sierra Madre and The African Queen made himself noticed! For a first-time director, the man was confident. He methodically planned out his feature shot-by-shot, so it could be completed professionally, on time, and under budget. The film only had a price tag of $400,000. The actors appreciated the extra notes on the screenplay because it meant less interference from the director.

This is the film that gave Humphrey Bogart his due. His turn as the hard-boiled Sam Spade opened the eyes of Hollywood. He was a very good character actor in a supporting sense but never got his big break…until Huston came along. He wasn’t even the first choice in the eyes of producer Hal B Wallis, but Huston pushed for him when first choice George Ranft turned the role down because of director inexperience…which wouldn’t be his first time. Bogart and Huston became great buddies and working partners and Bogart began an unbelievable run of roles starting with this and Casablanca. But yes, his performance was nothing short of excellent. His character is a private investigator and not a nice one, which is part of what makes up the film-noir genre.

As I just mentioned, Sam Spade (Bogart) is a private investigator who uses methods that may or may not be ethical. Regardless, the man gets the job done. One day, Mrs. Wonderly (Mary Astor) approaches him asking for his protection from a man named Floyd Thursby. His partner is murdered when tailing the man. This sets off a string of deceit, lies, and perhaps even more killing. Why is this all happening? It seems as if a gold falcon statuette is at the heart of all these mysteries.

I could rave about Bogart’s performance, but I already did so. Noir films also allowed the central female characters to shine. It gave them a voice. That is what Mary Astor’s character was here; a strong, tough woman who didn’t give in to the cliches. Our main heroes do not even follow the cliché where the hero gets the girl in a sense. I loved how the relationship between Bogart and Astor worked out. The menacing Sydney Greenstreet delivered big time in a supporting performance and as the film’s villain. He appeared on stage, but never in the movies. Huston gave him the opportunity and he made the best of it creating a memorable villain. Peter Lorre is also fantastic as Greenstreet’s henchman. You would notice that most of these actors would go on to work with Huston in some degree. After all, the director gave them their big break. With more talkative sequences than action, it was important for the actors to invest in their characters to make them interesting watches. They certainly succeeded.

Any movie about searching for treasure or hard-boiled detective story, I’m there. John Huston’s The Maltese Falcon is a stylish, innovative feature that essentially created its own genre. The black-and-white lighting and camera angles gave the film a dark, shadowy feel. Huston did a great job with his writing and directing to create a tense and foreboding atmosphere despite a series of conversations within an interior set. Bogart proved why he is a leading man. He is complimented by the strong supporting performances from Astor, Greenstreet, and Lorre. If you need an introduction to what film-noir is, look no further than Huston’s debut masterpiece.

My Grade: A