Review of The Maltese Falcon

Humphrey Bogart and Peter Lorre in Noir Thriller

© Mckenzie Cassidy

Nov 29, 2008
Classic Movie Poster for The Maltese Falcon, Movie Maker
A priceless artifact, stolen by pirates, turns up in San Francisco leading three unscrupulous men, a beautiful woman and an investigator on a chase to retrieve it.

A story of greed, corruption and murder, the 1941 production of The Maltese Falcon stars some of the biggest names in film noir, Humphrey Bogart and Peter Lorre.

This murder-mystery centers around three criminals and a beautiful woman vying for a priceless statuette, a bejeweled falcon covered with black enamel. According to history, the falcon, a tribute to Charles V from the Knights Templar of Malta, was taken by a group of ruthless pirates and was never seen again.

Directed by John Huston, who had a lead acting role in Roman Polanski's 1974 Chinatown starring Jack Nicholson, The Maltese Falcon is predominately shot within interior sets and while devoid of any significant action scenes, carries the audience’s attention through intricate dialogue.

Bogart Spins Some Memorable Lines

Since it’s release scores of critics have said the character of Sam Spade was perfectly tailored to Bogart, and this is true. He portrays the quintessential tough-guy, an unpredictable detective who is willing to twist and bend the rules to learn the truth.

The film follows Spade’s transformation from a careless, womanizing private investigator to a man on a mission to find his partner’s murderer, the truth about the falcon, and a way to love his guilty employer Brigid O’ Shaughnessy, played by Mary Astor.

An Interesting Relationship Between Spade and Joel Cairo

The character of Joel Cairo is performed by Peter Lorre who was in Casablanca with Bogart and is known for his unique characters in classic horror films with Bela Lugosi and Boris Karloff.

Lorre is most recognizable when portrayed by comedic impressionists who play up his Eastern European accent and odd disposition, but in this film he has an almost comedic relationship with Bogart. In one scene, for instance, they are civil and cooperative, while in the next Lorre is pointing a gun at Spade or Bogart is slapping him in the face. It's obviously a partnership of convenience.

It’s The Thing Dreams Are Made Of

The Maltese Falcon revolves less around the actual falcon and more around each of the characters and their obsessions. For one dealer named Kasper Gutman (Sydney Greenstreet) it’s the culmination of 17 years scouring the earth for this priceless item, for Cairo and O’Shaughnessy it’s the instant wealth from the falcon and for Spade it’s discovering the truth of who murdered his partner.

The last line of the film encapsulates each of the character’s motivation. With a close shot of his face, Spade utters, “It’s the thing dreams are made of,” to an officer who asks about the seemingly worthless falcon.

Unfortunately they realize at the end that the falcon is fake when Gutman excitedly cuts at the enamel with a jack knife and sadly remarks that it’s only a copy of the genuine thing.


The copyright of the article Review of The Maltese Falcon in Film Noir is owned by Mckenzie Cassidy. Permission to republish Review of The Maltese Falcon in print or online must be granted by the author in writing.


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Comments
Dec 16, 2008 4:08 PM
Barry M. Grey :
I think you've posted a nice essay, informative and energetic.

But I want to point out that Roman Polanski, not John Huston, directed Chinatown. Huston played a key role in Chinatown, that of the sinister millionaire Noah Cross. But Huston did not direct the film -- Polanski did. (Polanski had a walk-on part in the movie; he's the guy who slices up Nicholson's nose in a memorable scene.)

I don't really agree that Spade and Joel Cairo are ever anything even remotely resembling best friends; Spade is toying with Cairo all along, knowing Cairo is a lightweight. He uses Cairo to gain information -- all part of his quest to solve Miles Archer's murder and reveal the mystery of the black bird.

And you should know that Joel Cairo's character in The Maltese Falcon is gay. That he is homosexual is made very clear in Dashiell Hammett's novel and is strongly but subtly suggested in the Huston-directed film. But in 1941 Hollywood, the gayness of characters could only be hinted at -- and that's the case with Joel Cairo.

(The same sly treatment applied to the character of crooked bookstore owner Arthur Geiger in another Bogart picture, the superb adaptation of Raymond Chandler's The Big Sleep in 1946.)
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