Wednesday, 28 March 2012

Second Film Noir review - The Maltese Falcon

Having already reviewed a Neo Noir film I decided to review a classic Noir thriller in order to compare the style and conventions of both sub genres. I chose to review The Maltese Falcon as it is one of the best classic Film Noir movies.


The Maltese Falcon – Film Review

Sam Spade (Bogart) is a private eye with his partner Miles Archer (Jerome Cowan). When the pretty Miss Wonderly (Mary Astor) comes in to their office with a story about her sister and mystery man Thursby, they take the case, but soon enough Archer turns up dead, and later that night so too does Thursby. The police suspect Spade may be involved, and meanwhile Spade uncovers a plot where Wonderly is in fact O'Shaughnessy, and a group of questionable people including Joel Cairo (Peter Lorre) and Kasper Gutman (Sydney Greenstreet) are all looking for a famed Falcon statue.
John Huston’s ‘The Maltese Falcon’ is an exceptional and classic film noir. Immaculately designed, evocatively photographed, and easy to watch but also morally complex, and ultimately unsettling, the film remains a beloved classic to this day. The story is rich and compelling whilst the acting, particular that of Humphrey Bogart, is truly outstanding.
Adapted for the screen from Dashiell Hammett's classic detective novel of the same name, the movie sticks close to the book and even keeps the majority of the original dialogue making it one of the greatest adaptations of all time.
Another surprising thing about this movie is how it is made up almost entirely of talk, unlike some other films noir’s which prefer gritty action and slick violence, yet the wonderfully crafted performances by an exceptional cast are so focused that conversations become the action of the movie.
What makes the film such a classic noir is that, Huston and his cinematographer, Arthur Edeson, use light and shadow liberally and none of what transpires during the course of The Maltese Falcon does so in bright sunlight. The street scenes are in the black of night and, with the exception of Spade's office and Gutman's drawing room, few sets are well-lit. Huston employs interesting camera angles to vary the film's visual look. Greenstreet, for example, is often shot from below so he fills up and towers over the scene. There's also a long, unbroken take when Spade meets Gutman that often goes unnoticed and unmentioned because it flows so well and does not call attention to itself.
All in all, this is a stirring and memorable movie that despite the twisty, turny nature of the plot, never becomes incomprehensible. This one set a standard that is still influencing pop culture today, and definitely deserves to be seen.

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