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Purchase The Maltese Falcon (1941) Movie Online and Download - John Huston 🎥
Crime, Drama, Thriller, Mystery, Film-Noir
IMDB rating:
John Huston
Humphrey Bogart as Sam Spade
Mary Astor as Brigid O'Shaughnessy
Gladys George as Iva Archer
Peter Lorre as Joel Cairo
Barton MacLane as Det. Lt. Dundy
Lee Patrick as Effie Perine
Sydney Greenstreet as Kasper Gutman
Ward Bond as Det. Tom Polhaus
Jerome Cowan as Miles Archer
Elisha Cook Jr. as Wilmer Cook
James Burke as Luke
Murray Alper as Frank Richman
Storyline: Spade and Archer is the name of a San Francisco detective agency. That's for Sam Spade and Miles Archer. The two men are partners, but Sam doesn't like Miles much. A knockout, who goes by the name of Miss Wanderly, walks into their office; and by that night everything's changed. Miles is dead. And so is a man named Floyd Thursby. It seems Miss Wanderly is surrounded by dangerous men. There's Joel Cairo, who uses gardenia-scented calling cards. There's Kasper Gutman, with his enormous girth and feigned civility. Her only hope of protection comes from Sam, who is suspected by the police of one or the other murder. More murders are yet to come, and it will all be because of these dangerous men -- and their lust for a statuette of a bird: the Maltese Falcon.
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The Fat Man Cometh
Considered by many film historians as the very first noir film, "The Maltese Falcon" is cinematically important also for making Humphrey Bogart into a Hollywood star, and for being the debut of John Huston as film Director.

The film's story is complex and convoluted, typical of detective films of that era, and involves a valuable statuette. The plot stalls and meanders throughout most of the film, as we encounter an assortment of strange characters and side issues. But this is not a plot-driven film. It is character-driven.

And the main character, of course, is PI Sam Spade (Bogart). He's not a particularly nice guy. He comes across as overconfident and egotistic. He smirks a lot. But he's tough as nails. And he knows how to nail the bad guys. A big part of the film is Spade's relationship to femme fatale Brigid (Mary Astor). They engage each other in a battle of wits. And there's more than a hint of romantic involvement between the two. But Brigid is the one who propels Spade into the deceiving and double-crossing world of bad guys who yearn with greed for the priceless Maltese Falcon.

Enter Kasper Gutman, that thoroughly rotund and intimidating (in a gentlemanly sort of way) king of greed, portrayed with verve and panache by the inimitable Sydney Greenstreet. Gutman, AKA the "Fat Man", is nothing if not erudite and self-assured. In one scene, Sam Spade makes a bold offer. Gutman responds articulately: "That's an attitude sir that calls for the most delicate judgment on both sides, because as you know sir, in the heat of action, men are likely to forget where their best interests lie ...".

And Peter Lorre is a hoot as Gutman's mischievous elf, Joel Cairo, who tries, without success, to threaten Sam Spade, but only succeeds at getting on Sam's nerves.

The film's high contrast B&W lighting renders an effective noir look and feel, one that would be copied in films for years to come. Acting varies from very good to overly melodramatic. The script is very talky. For the most part, the film is just a series of conversations that take place in interior sets.

Stylistic and cinematically innovative, "The Maltese Falcon" has endured as a film classic. I suspect the main reason for its continued popularity is the continued popularity of Bogart. But I personally prefer the performance of Sydney Greenstreet, the enticing fat man. Yet, together they would reappear in later films, one of which would follow, in 1942, as the classic of all classics.
The best detective story.
I love this movie. I didn't love it until I'd watched it a couple of times.

And I didn't love it quite so much until I'd read Harvey Greenberg's "Movies on Your Mind."

But I now think that, within the strictures of its budget, it's about as good as it can get. Sam Spade is a marvelous character in this film. He gives practically nothing away, while gathering information from others simply by letting them talk, kind of like a shrink.

And it's hard to believe that they could have found a cast that fit the templates of the novel so perfectly. Sidney Greenstreet IS the "fat man." Peter Lorre IS the queer. My nomination for best scene: When Greenstreet attempts to peel off the black enamel from the captured bird and finds that it's nothing but lead and begins to hack away at it, as if it were alive and he were trying to kill it. Nothing is more amusing than a fat man lipid with rage.

If you see this one, and I hope you do, make note of the phenomenal black and white photography. (I hope you have a good connection.) Watch, for instance, the glissade of the camera when Bogart says, "You have brains. Yes, you do."

In case you're worried about this being too sophisticated for enjoyment by an ordinary audience, I should mention that I showed this (in one connection or another, I forget) to a class of Marines at Camp Lejeune. They enjoyed the hell out of it, especially the scene in which Mary Astor kicks Peter Lorre in the shins.

Don't miss it.
Absorbing and worthy suspense film about blackmails , killings , corruption and strong intrigue
This one of the all-time grand films , a classic Noir Film with gritty interpretation , atmospheric settings and powerhouse filmmaking , at John Huston's first effort directorial . This is a story as explosive as his blazing automatics . Womanizer Sam Sapade is a two-fisted and cynical private detective operating in the big city . When his secretary tells him the new customer (Mary Astor) waiting outside his office is a knockout, he wastes no time before seeing her. It turns out she's a knockout with money. And she wants to spend it on his services as a private detective . This lovely dame with dangerous lies employs the services of the notorious private detective . She has some story about wanting to protect her sister. Neither he nor his partner, Miles Archer, believes it. But with the money she's paying, who cares? The job proves to be more dangerous than either of them expected. It involves not just the lovely dame with the dangerous lies, but also the sweaty Casper Gutman (Sidney Greenstreet) , the fey Joel Cairo (Peter Lorre) , and the thuggish young Wilmer Cook (Elisha Cook Jr) . Three crooks, and all of them are looking for the statuette of a black bird they call the Maltese Falcon . Spade is quickly caught up in the mystery and intrigue of a statuette known as the Maltese Falcon . As Sam fights to get hold of a black bird ¨the stuff that dreams are made¨ (a line suggested by Humphrey Bogart was voted as the #14 movie quote by the American Film Institute) .

This first-rate and entertaining picture draws its riveting tale and power from the interaction of finely drawn roles as well as drama , emotion and moody atmosphere . This classic mystery thriller follows Dashiell Hammett's book fairly closely otherwise , he also wrote ¨The thin man¨. Twisted film Noir about murders , troubled relationships , treason , dark secrets , including an unforgettable dialog ; being based on the novel ¨The Maltese Falcon¨¨and screen-written by the same Huston . Frustrated at seeing his script for Juárez (1939) rewritten by Paul Muni, the film's star, John Huston vowed that from then on he would direct his own screenplays and therefore not have to see them get meddled with. He was fortunate in that he had a staunch ally in the form of producer Henry Blanke who was happy to fulfill Huston's wish. Word-for-word and scene-for-scene virtually the same as the original novel. It packs a good realization , an original script , haunting atmosphere , intriguing events ; for that reason madness and murder prevail .The climactic confrontation scene lasts nearly 20 minutes, one-fifth of the entire running time of the film. It involves all five principal characters, and filming required over one full week . Here Bogart is extraordinary and as cool as ever ; he plays as the tough-talking P.I. Although George Raft was originally cast as Sam Spade , he allegedly turned it down because it was "not an important picture," taking advantage of a clause in his contract that said he did not have to work on remakes . For decades this film could not be legally shown on US television stations because of its underlying suggestions of "illicit" sexual activity among the characters (i.e., O'Shaughnessy's promiscuity, indications that Joel Cairo was a homosexual). Much of the movie is filmed over Humphrey Bogart's shoulder so that the audience can be in on his point of view. His scenes with Mary Astor are awesome and at their best compared to those he subsequently shared with Lauren Bacall in ¨Dark passage¨ , ¨Key Largo¨ , ¨The big sleep¨ and ¨To have and to have not¨ . The couple Bogart-Astor throws in enough sparks to ignite several lighters . This was the first pairing of cynical Humphrey Bogart and Femme Fatale Mary Astor . Mary Astor's off-screen notoriety was instrumental in her casting , she had been in several scandals concerning affairs she had been involved in during her marriage. And she was having an affair with John Huston during the making of the film. Magnificent support cast , here was the first pairing of Sydney Greenstreet and Peter Lorre, who would go on to make nine more movies together. Exciting as well as complex film , possessing a mysterious and fascinating blend of gripping thriller , serenity , baroque suspense in which especially stands out the portentous performances , evocative cinematography in black and white by Arthur Edeson and magnificent musical score by the classic Adolph Deutsch . And also shown in horrible computer-colored version . The motion picture was masterfully directed by John Huston ; filming was completed in two months at a cost of less than $300,000.

A former version in 1931 by Roy Del Ruth , it was also pretty good starred by Bebe Daniels as Ruth Wonderly , Ricardo Cortez as Sam Spade , Dudley Digges as Casper Gutman and Una Merkel as Effie Perine . In fact , Warner Bros. planned to change the name of the film to "The Gent from Frisco" because the novel's title had already been used for this The Maltese Falcon (1931) , the studio eventually agreed to keep the original title at John Huston's insistence.
Third Time's the Charm in the 1941 Version of Hammett's Classic
The classic 1941 version of THE MALTESE FALCON (TMF) was the third movie adaptation of Dashiell Hammett's seminal detective novel about cynical private eye Sam Spade's adventures with the alluring but treacherous Brigid O'Shaughnessy and other greedy no-goodniks vying for the titular falcon statue. It proves the old adage "The third time is the charm." No wonder John Huston's taut, wryly cynical take on Hammett's tale put him on the map as a writer/director. His version has the best of everything in one package: the best private eye thriller, the best Dashiell Hammett movie adaptation, the best remake, and the best nest-of-vipers cast, including the signature Humphrey Bogart role/performance.

Huston's powerhouse cast was born to play these characters. Between the perfect performances (even the great Walter Huston is memorable in his brief cameo as the dying Captain Jacobi), Huston's lean, mean pacing and striking visuals (Arthur Edeson's expressionistic photography and Thomas Richards' editing work beautifully), and the overall faithfulness to the novel, it's as if Huston & Company just opened the book and shook it until the characters fell out, then started filming.

Humphrey Bogart doesn't match Hammett's description of Sam Spade as a "blond Satan," but he's got Spade's attitude down perfectly, and besides, he's Bogart! What's not to like? Bogie deftly balances toughness, trickiness, and tenderness, but he never lets his tender side make a sap out of him. I find Bogart's Spade sexier than skirt-chasing Ricardo Cortez or Warren William in the previous films because the dames are drawn to Bogie because of his sheer charisma and strength of character, as opposed to him aggressively pitching woo at them until they give in from sheer exhaustion. In an early scene with Brigid, Spade has a line about how all he has to do is stand still and the cops will be swarming all over him; substitute "women" for "cops" and the line would still be accurate! :-) Mary Astor's real-life shady-lady past informs her spot-on performance as quicksilver Brigid O'Shaughnessy, but it's her watchful eyes, elegance, and that beseeching "throb in (her) voice" as she enlists Spade's aid that makes her so fascinating and believable as an avaricious adventuress with a prim, sweet facade—a woman who'd kill a guy as soon as kiss him, and keep him guessing about her intentions until the bitter end. That's what made Astor and Bogart such a great team; in their capable hands, Brigid and Spade are two wily, street-smart people who are onto each other as well as into each other.

Every actor in TMF shines, from Bogart and Astor to Ward Bond and Barton MacLane as Sgt. Polhaus and Lt. Dundy, to Jerome Cowan as Spade's doomed partner Miles Archer, to Gladys George as clingy, vindictive Iva Archer, to the only cast members who reprised their roles in the otherwise so-so 1975 sequel/spoof THE BLACK BIRD: Elisha Cook Jr. as gunsel Wilmer Cook and Lee Patrick as Spade's trusty secretary Effie Perine. After Spade's tomcatting with Effie and other babes in the early films, it was refreshing that Effie's interest in Spade here is more professional than personal. There's warmth between them, but it stops well short of neck-nuzzling and lap-sitting. :-) Cook has many memorable moments, particularly one brilliant scene where he's on the verge of shooting the cool, calm Spade, his eyes filling with tears of rage as he whispers, "Get on your feet. I've taken all the riding from you I'm gonna take." When Wilmer comes to after Spade punches him out, dread and horror spreads over his face as each of the conspirators stares at him coldly (another triumph of editing and photography), and he realizes he's being set up as their fall guy. You can almost hear Wilmer frantically thinking, "Oh, s***!!!" Still, Sydney Greenstreet and Peter Lorre come closest to stealing the show. As Kasper Gutman, Greenstreet blends menace with avuncularity, his voice a cultured growl. Greenstreet's performance is so assured, it's hard to believe TMF was this veteran stage actor's first movie job, but it's easy to see why he earned a Best Supporting Actor Oscar nomination. TMF made Greenstreet an in-demand character actor and one of cinema's most memorable villains, especially in his team-ups with Peter Lorre. Lorre's witty, sly performance as the smoothly effeminate yet ruthless weasel Joel Cairo is a marvelous addition to the rogues' gallery of lowlifes Lorre played over the course of his long career. After TMF's success, the great cast worked together in various combinations in many movies, including CASABLANCA. I've always wondered what a TMF caper film sequel following Gutman and Cairo to Istanbul would've been like, considering Greenstreet and Cairo's antihero buddy chemistry.

TMF has so much memorable dialogue, often laced with sardonic humor, that I'd be virtually transcribing the whole script if I quoted all my fave lines. In my family, "The cheaper the crook, the gaudier the patter" and "When you're slapped, you'll take it and like it" have often been jokingly quoted. Then there's Gutman's deliciously ironic toast with Spade: "Here's to plain speaking and clear understanding." Plain speaking and clear understanding with this band of greedy, duplicitous cutthroats?! Good luck! :-) But the talk's a joy to listen to; as Gutman says, "I distrust a closed-mouthed man. He generally picks the wrong time to talk and says all the wrong things. Talking is something you can't do judiciously unless you keep in practice." TMF has one of cinema's greatest last lines, Spade's answer when Polhaus asks what the statue is: "The stuff that dreams are made of." I also love the climactic scene with all the principal players, especially the dialogue between Spade and Gutman about how to go about getting what they want ("...If you kill me, how are you gonna get the bird? And if I know you can't afford to kill me, how are you gonna scare me into giving it to you?...") Truly, TMF is "The stuff that dreams are made of"!
The Maltese Falcon (1941) **1/2
Another of those uncomfortable times where I have to step up to the plate as one of the few who finds a universally revered "classic" Overrated. THE MALTESE FALCON does have much going for it: It's got one of Humphrey Bogart's greatest performances as tough detective Sam Spade; some sensational dialogue; smart casting in Peter Lorre, Sydney Greenstreet and Elisha Cook, Jr. (Mary Astor - not as smart); dark and brooding noir photography; but the most important thing goes wrong -- the plot is so highly convoluted, full of holes, and so nearly impossible to follow that it makes for a real headache-inducing 100 minutes. I liked the characters and actors so much that I really "wanted" to get involved in the story. But everything was strewn all over the place and confused me enough that I was prevented from fully getting into the movie. There have been some films that seemed incomprehensible to me at times, but as long as most of their loose ends become tied up by the time the end credits begin to roll, I'm usually a happy moviegoer. FALCON did not afford me that privilege and was very hard to follow. I can't consider that the mark of a great motion picture. **1/2 out of ****
Deserving of its iconic status
John Huston's adaptation of The Maltese is one of the earliest and best films noir. It may not have the prominent chiaroscuro or stylistic flourishes of later noir movies, but it is a gripping story told well, almost perfectly cast (I still cannot decide how I feel about Mary Astor's matronly though calculating femme fatale). The camera is almost always set at a subtle low angle, making the scenes take on a menacing feel, as though anything could happen and no one is to be trusted. Bogart is perfect in one of the two roles that made him an enduring Hollywood demigod, the patron saint of cinematic masculine toughness.

Despite the 1940s setting, TMF's themes of greed and human failing remain relevant. Except for the most superficial details, I would say the film has hardly dated at all and remains the definitive cinematic telling of the classic detective novel.
Bogart, the hero who was exactly right for his time…
The Forties were the years when Hollywood decided that the mystery thriller deserved big-budget, big-star treatment, threw up a new kind of hero who was exactly right for his time: they were the fabulous years which established the private eye adventure as the irremovable all-time favorite in the whole field of suspense… The field was so rich, the choice so lavish in that decade, that it was difficult to know where memory should stop and call "Encore".

As the author of the screenplay, Huston made every effort to do justice, and remain faithful, to Dashiell Hammett's novel… But in remaining faithful, the newest version asked audiences to accept the complicated plot at its full strength and that is where the film's main flaw occurs… Names, murders, and intrigues turn up so quickly that it is extremely difficult to understand exactly what is happening in this tale of an assortment of characters in search of a fabulous jewel-encrusted statue…

Probably in no other film will a viewer find a gallery of such diverse human beings whose perfect1y constructed portrayals remain permanently locked in one's memory…

Mary Astor's Brigid O'Shaughnessy is a striking picture of feminine deceit and betrayal… Able to shed tears on command, she is a confirmed liar who can be as deadly as she is beautiful; she can make passionate love to Bogart, but wouldn't hesitate a moment to kill him if it suited her plan… Her performance is surely one of the screen's most brilliant portrayals of duplicity masked with fascination…

Sydney Greenstreet, in his movie debut, was equally memorable as the menacingly mountainous man behind the search for the elusive black bird, and almost stole the picture… Cunning, determined, appreciative of the fine arts, Greenstreet—who seemed to get more dangerous as he got more imperturbably polite—is a man who would devote his entire life to a single quest if need be…

Peter Lorre's Joel Cairo was a resolute picture of classic villainy… With curled hair and impeccably clean dress, he is an unpredictable accomplice of Greenstreet, difficult to deal with…

But it is Bogart's portrayal of Sam Spade that remains classic in its construction… Obviously cynical, he still maintains his own code of ethics which he adheres to faithfully… He is doubtful, but not foolhardy… He is courageous, but not without fear… Spade uses everyone he comes in contact with… He wins not because he's smarter than his enemies, but because he is the only character in a central position… Spade is every bit as ruthless as the crooks who try to use him… His tactics in dealing with them, however, are necessary for his survival...

His treatment of the two women in the film seems equally as harsh, but neither is a wide eyed innocent and both attempt to deceive him in one manner or another… His exchanges with Brigid O'Shaughnessy are electric... Their mutual attraction is undeniable... But Spade will play the fool for no woman… He is a loner, but he has contacts, and knows where to go for what he wants… Even with very little money, he is totally incorruptible… He has no apparent friends… He is laconic, but he can throw a wisecrack as fast as he can throw a punch...

"The Maltese Falcon" molded the image we remember of Bogart all through the early years of the Forties—an image elaborated upon and reinforced in "Casablanca," and the one which all Bogart fans remember with great affection and admiration…
Slightly above mediocre
After all the years of hype I was very disappointed after seeing this. The dialog is dull, the story is trite, small ideas lead to nowhere, a scene starts to heat up and then turns abruptly and stalls. Surprisingly flat, no sparkle at all.

The most interesting person in the entire film is Mary Astor. Her performance is the most complex but even her own story told by herself becomes a big question mark and is also dull just like everything else.

With Sydney Greenstreet and Peter Lorre one would think that they'd be seeing something similar to Casablanca which is far more entertaining that this. But even this trio cannot save this boring film. No, Shadow of a Doubt, Sorry Wrong Number, The Damned Don't Cry and Casablanca are much, much more entertaining than this. See it for Bogart's performance but not much here to brag about.
The Maltese Falcon, right off the bat, has very interesting technical elements. It has great compositions in its shots, it seems very balanced and clean, which is very different from many of the older movies I have seen before. Everything in the movie seems remarkably composed and tidy. The transitions between scenes are noticeable but not so noticeable that they become jarring and the editing seems well done. The long shots that they did--especially the very first one on the phone--is really interesting and feels new. It also has some amazing photographic moments, notably the scene between Mister Spade and the widow where the light is shining through the blinds onto the wall The acting and character seem so-so to me, though I believe a lot of the reason I have decided that I dislike it is not because of the quality of the acting itself and more that I was not very interested in the movie itself. Over all so-so, but great technically.
"I Won't Play The Sap For You."
The Maltese Falcon has a totally atypical Hollywood history. After two previous filmings of Dashiell Hammett's novel, the third time a classic film was achieved. Usually the original is best and the remakes are the inferior product.

These characters that John Huston wrote and breathed life into with his direction are so vital and alive even 65 years after the premiere of The Maltese Falcon. You can watch this one fifty times and still be entertained by it.

I'm not sure how the code let this one slip through. Humphrey Bogart as Sam Spade is partners with Jerome Cowan in a detective agency Spade and Archer. Client Mary Astor comes into their office requesting help in getting rid of a man who's intruding in on her life. Jerome Cowan as Miles Archer eagerly takes the assignment and gets himself bumped off for his troubles.

Cowan is quite the skirt chaser and he certainly isn't the first or the last man to think with his hormones. That's OK because Bogart's been fooling around with his wife, Gladys George. That gives the police, Barton MacLane and Ward Bond, motive enough to suspect Bogart might have had a hand in Cowan's death.

As fans of The Maltese Falcon are well aware, there's quite a bit more to the story than that. Bogart's investigation leads him to a crew of adventurous crooks, Sydney Greenstreet, Peter Lorre, and Elisha Cook, Jr. who are in pursuit of a statue of a Falcon that is said to be encrusted in gold and precious jewels.

The Maltese Falcon is a milestone film role for Humphrey Bogart. It is the first time that Bogey was ever first billed in an A picture while he was at Warner Brothers. In fact this is also John Huston's first film as a director. He had previously just been a screenwriter and in fact got an Oscar nomination for the screenplay he wrote here. There are some who will argue that this first film is Huston's best work and I'd be hard up to dispute that.

After a long career on stage The Maltese Falcon was the screen debut of Sydney Greenstreet. Greenstreet may be orally flatulent here, but there's no doubt to the menace he exudes while he's on screen. Greenstreet got an Oscar nomination for Best Supporting Actor, but lost to Donald Crisp for How Green Was My Valley. Greenstreet created quite a gallery of characters for the next ten years, mostly for Warner Brothers.

A favorite character of mine in The Maltese Falcon has always been Lee Patrick as Effie, the secretary at Spade&Archer. She's loyal, efficient and crushing out on Bogey big time. This and the part of Mrs. Topper in the television series Topper are Lee Patrick's career roles. I never watch The Maltese Falcon without hoping that Bogey will recognize how really "precious" Effie is.

The Maltese Falcon will be entertaining people hundreds of years from now. And please no more remakes of this one.
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