The Maltese Falcon
San Francisco, 1941. A gorgeous but distraught woman named Miss Wonderly (Mary Astor) enters the detective agency of Sam Spade (Humphrey Bogart) and Miles Archer (Jerome Cowan). She says she’s looking for her missing sister. Apparently the woman ran off with a man named Floyd Thursby. Something about Miss Wonderly’s story doesn’t quite ring true. Is that even her real name? But the monetary compensation is so good, why challenge a solid paycheck? After Archer and Thursby are found murdered, Spade realizes circumstances are a lot risker than he had originally presumed. That Spade was having an affair with Archer’s wife Iva (Gladys George) doesn’t help the situation. That’s merely the beginning of his problems.
For many historians, The Maltese Falcon is considered the first major film noir, a cinematic term primarily used to describe those stylish Hollywood crime dramas of the early 1940s to the late 1950s, roughly the decade after World War II. The strict definition of what makes a film noir can be a bit abstract. It’s more of mood or a point-of-view than an easily definable category. The lesser known 1940 picture Stranger on the Third Floor actually predated this film. However director John Huston’s masterpiece presented the detective drama in a more definitive way. It in fact was the third adaptation of the 1930 novel by Dashiell Hammett. The first released in 1931 and the 2nd titled Satan Met a Lady in 1936. That one starred Warren William and Bette Davis. The exalted reputation of the 1941 interpretation trumps them both making this arguably one of the greatest remakes ever made. It set the bar extremely high for later classics of the genre like Double Indemnity, The Big Sleep and The Third Man.
The Maltese Falcon is highlighted by a character study of contrasting personality types. People wrestle with greed, deception, and loyalty. Humphrey Bogart is conflicted by darker desires. He’s more of an antihero as the lead. Cynical and hard-hearted – he doesn’t seem overly troubled by his partner’s death, removing his fellow associate’s name on the business door while the body is still warm. Nevertheless Bogart exemplifies cool collected style as the self-assured gumshoe. Mary Astor is captivating as the requisite femme fatale. She initially appears fragile, but looks can be deceiving.
Then there’s a colorful trio of shady individuals. 61 year old stage actor Sidney Greenstreet surprisingly making his feature debut here as “The Fat Man”. He was Oscar nominated for his supporting role. Yet Peter Lorre is just as iconic as the effete Joel Cairo. Joel is no match for Spade. “When you’re slapped, you’ll take it and like it,” Spade rebukes him. Elisha Cook, Jr. is the lightest heavy of the three. He provides some much appreciated comedic relief. At times, the set-bound action almost resembles a play. The movie is talky to say the least. Scenes are inundated with words, overstuffed even. But oh what dialogue! John Huston’s Oscar nominated screenplay is so meticulously composed, you’ll marvel at its construction. It demands repeat viewings to take it all in, but it only gets better with age.
A whole review and I haven’t even answered the titular question. What is the Maltese Falcon anyway?
Why it’s “the stuff that dreams are made of” of course.