The Maltese Falcon (1941) [3-Discs Special Edition] [Repost]

As Humphrey Bogart soberly opines in the movie's final seconds, the Maltese Falcon is "the stuff that dreams are made of." And for a while, the Hollywood Dream Factory seemed just as obsessed with that cursed black bird as the avaricious trio in Dashiell Hammett's novel. Surely, the three Warner brothers fell under its powerful spell, for why else would they film the book three separate times over the course of a single decade? (An early talkie with Ricardo Cortez and Bebe Daniels came first, followed by a 1936 comic spoof that was so ill-advised it provoked Bette Davis to breach her Warner contract and flee to England).

There's no denying Hammett's hard-boiled tale of a coveted ornithological statue ranks among the best mysteries of all time—and almost single-handedly transformed detective stories into literature—but such preoccupation seems excessive, even by Hollywood's bloated standards. Though several oft-quoted maxims could explain Warner's willingness to continually recycle the material ("If at first you don't succeed…" chief among them), "the third time's the charm" fits best. With Bogart as Sam Spade, Mary Astor as the duplicitous Brigid O'Shaughnessy, and Peter Lorre and Sydney Greenstreet in iconic supporting roles, writer-director John Huston's telling of The Maltese Falcon stands as the definitive version, as well as the quintessential private-eye film. And after it was released in 1941, no one in the movie industry dared touch the property again.

And rightly so. Every element of this magnificent picture is top-notch—direction, casting, music, photography—but the screenplay outshines them all. Huston brilliantly translates Hammett's terse, gritty prose into the language of celluloid, with images and dialogue that mirror the novel's every page. Sure, he takes a few liberties—softening Spade somewhat, cutting the final scene, and only hinting at another character's homosexuality (due, in part, to the era's rigid production code)—but the tone remains blessedly faithful to Hammett. Though a Rubic's cube might be easier to align than the tangled threads of this fascinating yarn, every tricky plot point, carefully constructed deception, and oblique relationship somehow finds its way into Huston's script, and the result is a textured tableau that requires several delicious viewings to fully digest.

To many, adapting The Maltese Falcon would be challenge enough, but the film also marked Huston's directorial debut, and he handles his dual duties with the maturity and aplomb of a far more experienced craftsman. Mastering camera angles and continuity, deftly handling a big-name cast, and developing artistic flair often take years, but the 35-year-old Huston possesses the whole package right out of the gate. Never does he stumble or feel his way, like most novices; a brash confidence pervades the film, and with enviable ease he merges the story's dingy settings, tough talk, and sordid actions with a satiny narrative style that seamlessly connects each scene. "Elegant" isn't a word often used in connection with this genre, but in The Maltese Falcon, Huston—much like Martin Scorsese would do years later—makes the morally repugnant not just accessible, but also palatable, even beautiful.

The intrigue begins when a distraught Brigid (using an alias) enlists private detectives Spade and Miles Archer (Jerome Cowan) to tail a shady character named Thursby, who might have abducted her sister. Archer winds up dead (along with Thursby), and much to his cynical chagrin, Spade finds himself the chief suspect. He presses Brigid for answers, but she remains exasperatingly vague, and though he doesn't buy her damsel-in-distress routine, he has trouble resisting her vulnerable veneer. Soon, however, the oily Joel Cairo (Lorre) darkens Spade's door, and hopes the detective can help him recover "an ornament that has been mislaid." That ornament turns out to be a mysterious, jewel-encrusted statue of a falcon that has beguiled and eluded fortune-hunters since the 16th century. It's also the engine that's spinning the ever-widening web of deceit in which Spade finds himself ensnared. Brigid - along with Cairo and Kasper Gutman (Greenstreet), a rotund and ruthless collector - consider the priceless bird their Holy Grail, and go to obscene and violent lengths to obtain it.

Though it's often difficult to process the convoluted plot (especially the first time through), concentrating too intently on all the twists, turns, and double-crosses makes one miss many of the subtleties that make The Maltese Falcon so rich and satisfying. The humor, atmosphere, pacing, and performances all need to be savored to fully appreciate them. In addition to the quartet of leads, Huston spices up his full-flavored brew with such fine character actors as Gladys George, Barton MacLane, Lee Patrick, Elisha Cook, Jr., and Ward Bond (as well as the aforementioned Cowan).

Yet most importantly, The Maltese Falcon gives birth - at long last - to the Bogart persona. Finally playing the hero instead of the heavy, and given the chance to strut his considerable stuff, Bogart burns his image into the lens, and embraces the jumble of contradictions that would forever after define him - tough yet tender, cynical yet sensitive, droll yet serious, honest yet corruptible, noble yet selfish. Though he shares the screen with a formidable array of actors - two of whom (Lorre and Greenstreet) would never fully eclipse their superb performances (or escape the subsequent typecasting)—Bogart commands the screen, and never relinquishes control, no matter how hard his colleagues try to wrangle it away.

The falcon may be elusive, but this classic film captures the essence of Bogart, Huston, and the hard-edged detective genre. Others may argue, but to me, that's worth far more than any jewel-encrusted black bird. Case closed.

digitallyOBSESSED!com

A rare bird, the prized one and only. This third film version of the Dashiell Hammett novel was propelled into the ranks of popular classic by a stunning directorial debut from screenwriter John Huston. This was also Bogart's big chance as a star/leading man and he is peerless as private eye Sam Spade, a cynical rebel-hero entangled in a mass of hissing vipers.

While trying to investigate the murder of his partner, Miles Archer (Cowan), Spade finds himself surrounded by a number of eccentric characters: the mysterious Brigid O'Shaughnessy (Astor), the effeminate Joel Cairo (Lorre), the huge Kasper Gutman (Greenstreet), and Gutman's psychotic gunsel Wilmer (Cook)–all greedily fighting for possession of a statue of a falcon containing priceless jewels. From the superb casting (it was the 61-year-old Greenstreet's film debut) to the textbook perfect direction, every aspect of THE MALTESE FALCON revealed the surprisingly assured hand of its novice director. A seminal moment in the development of what would come to be known as film noir, Huston's faithful adaptation helped establish the cynicism, corruption, and moral ambiguity that would mark the genre, while his visuals–although not nearly as dark as what would follow–showed a cramped, stifling, claustrophobic world from which there was no escape.

Huston has a field day laughing at greedy corruption and treating the plot with amused insolence; often it's funny to us, too. Lorre's gardenia-scented little crook versus Cook's would-be tough guy, obsequious sugar daddy (to Cook) Greenstreet meeting Bogie's snarls–these make us laugh. Mary Astor has one howler bit when she kicks Lorre, but otherwise she embodies the plot's dark, bottomless center. Piling lie on top of lie, Astor's portrayal keeps us guessing right up to the end. Gladys George is the classic noir widow–you've seen this bit parodied countless times–here's the real thing. Ditto Patrick's doggedly devoted secretary (it's nice to see her playing a dame that's not cheap for once). And that's Walter Huston, John's distinguished father, who delivers the bird to Bogie.

TVGuide

Features:
Disc One:
- The Maltese Falcon (1941)
- Commentary by Bogart Biographer Eric Lax
- Warner Night at the Movies 1941 Short Subjects Gallery: Vintage Newsreel, Oscar®-Nominated Technicolor Musical Short The Gay Parisian, 2 Classic Cartoons: Oscar Nominee Hiawatha’s Rabbit Hunt and Meet John Doughboy, Plus Trailers of The Maltese Falcon and 1941's Sergeant York.

Discs Two:
- The Maltese Falcon (1931)
- Satan Met a Lady (1936)

Discs Three:
- Documentary: The Maltese Falcon: One Magnificent Bird
- Robert Osborn Hosts Becoming Attractions: The Trailers of Humphrey Bogart
- Breakdowns of 1941: Studio Blooper Reel
- Audio-Only Bonus:
· 3 Radio Show Adaptations
· 2 Featuring the Movie's Original Stars, Plus Another Version Starring Edward G. Robinson