San Francisco private detective Sam Spade takes on a case that involves him with three eccentric criminals, a gorgeous liar, and their quest for a priceless statuette, with the stakes rising after his partner is murdered.
Based on the novel by Dashiell Hammett – a writer whose books helped usher in the era of Noir films and stories – “The Maltese Falcon” remains an iconic film of the genre. The action is set in San Francisco, which is a perfect city for any mystery or thriller, e.g., “Vertigo,” “Zodiac,” “Invasion of the Body Snatchers,” and many more. Helmed by writer-director John Huston, along with a cast featuring Humphrey Bogart, Sydney Greenstreet, Elisha Cook Jr, and Peter Lorre, there is not a dull moment or presence on screen.
Like any great Noir, “The Maltese Falcon” is full of cynicism and dark humor. It is incredible that 82 years later, its dialogue is still sharp. And as common with the genre, the film’s plot seems straightforward until various players and schemes come to light. When a woman claiming to be Ruth (Mary Astor) enters Spade’s (Humphrey Bogart) office, she seeks help to locate her sister, who disappeared along with her boyfriend, Floyd Thursby. After this meeting, both Spade’s business partner at their Private Eye agency and Thursby are snuffed out. In reality, “Ruth” has made up the story of her sister missing, and her actual name is Brigid O’Shaughnessy. Brigid hires Spade to investigate both murders.
Archer was killed with a Wembley, a British-made pistol. Spade was sleeping with his partner’s wife to make matters more complicated. Plus, the lug-headed police think Sam is guilty, but he does not care about the accusations or the murder of his partner. Soon afterward, the titular prized Falcon comes into focus, and Spade is tasked to recover it. In reality, the statue is precious for being forged in gold that is currently absconded by a coating of black enamel.
With this role and another the same year, “High Sierra,” Bogart finally broke through to major stardom after several rocky years at Warner Brothers dealing with volatile studio honcho Jack Warner. Warner caught the ire of actors like Bogart and Ida Lupino by issuing them suspensions akin to being grounded by one’s parents. Suspension was a regular punishment during the old studio system, and depending on one’s status, it messed with a lot of careers and lives. In Sam Wasson and Jeanine Basinger’s ‘Hollywood: The Oral History,’ the director Irving Rapper commented, “Jack Warner was not to be coped with. He was tyrannical, unreasonable, and didactic. At home, he was a prince and an angel, the greatest, kindest host in the world. And he had a most charming, wonderful wife, whom I adore and who helped cope, but he was not to be coped with. I suffered. Once Bogart saw me and said, ‘What’s the matter, you look down,’ and I said, ‘Another suspension.’ And Bogie said, ‘One more, and you’ll be the San Francisco Bay Bridge.’ He admitted he was doing a ‘lousy thing’ that he hated, so I told him, ‘Well, you’ve got a little more money than I have, why don’t you take a suspension and see the world or something?’ And he replied, ‘No. I want Jack Warner to have to look at my puss every day of his life.’”
By contrast, John Huston was heavily involved in Irish cultural preservation while creating a uniquely American film style. His adaptation of Hammett’s convoluted novel was not a challenge thanks to his prior work as a script editor and penning plenty of screenplays (“Sergeant York” and “High Sierra” rank among his best). In “The Maltese Falcon,” Huston and cinematographer Arthur Edeson (“Sergeant York,” “The Invisible Man,” “The Big Trail”) use some crafty techniques that it took me a few viewings to notice the impressive camerawork. Like the unbroken take that seamlessly occurs when Bogart and Greenstreet first meet. What Huston and Edeson did here was lay the foundations for the emergence of Noir as a unique genre after World War II.
Sydney Greenstreet is great fun as the main antagonist, Gutman, who will stop at nothing to locate the falcon. Even better are the actors playing his co-conspirators and goons. Peter Lorre, as Cairo, is Queer-coded in his introduction, stroking a cane suggestively and clutching a perfumed handkerchief. Also, nobody smoked cigarettes as cool as Lorre. Well, perhaps, Bogart came close. Particularly in Hitchcock’s “The Man Who Knew Too Much,” when Lorre’s character is in a shootout with police, he nonchalantly continues to smoke most stylishly. Last — but most certainly not least — prolific character actor Elisha Cook Jr. plays Wilmer with a mixture of menace and pathos. With his slight build and the often-Weasley characters he played in films like “The Killing,” “The Big Sleep,” and “Rosemary’s Baby,” Cook was essentially the William H. Macy of his time.
Most importantly, the restored 4K upgrade does not sour the viewing experience nor make the cinematography look lifeless. The clearer picture showcases more details, smoke-filled rooms, and Bogart’s wonderful array of facial expressions. While it is not a masterpiece like the dizzying, perhaps intentionally confusing “The Big Sleep,” “The Maltese Falcon” remains a powerful chapter of one of Hollywood’s greatest and most abundant genres.
Now available on 4K Ultra HD™ for the first time
