Humphrey Bogart Finds Major Stardom on a Quest for The Maltese Falcon

 

                Constituting one of the earliest and greatest entries in the film noir genre, 1941’s The Maltese Falcon, writer/director’s John Huston’s sleek, class A adaptation of Dashiell Hammett’s renowned 1930 novel, offers the definitive example of a classic Warner Brothers’ crime drama. Starring Humphrey Bogart in an indelible, star-making role as tough, calculating detective Sam Spade and an irreplaceable cast of top players in some of their signature performances, the exciting Huston screenplay wisely adheres to Hammett’s deft source material and offers the prime cinematic version of the tale involving Spade’s risky encounters with a host of characters seeking possession of the title figure at any cost, after previous Warner attempts at bringing Falcon to the screen, including the same-named Pre-Code 1931 version and 1936’s Satan Met a Lady, failed to fully capture the rich, tense flavor of the novel. However, aided by Arthur Edeson beautiful black & white cinematography, which perfectly evokes a seamy atmosphere suitable to the often-foreboding San Francisco-set storyline, and Adolph Deutsch’s penetrating score, the 1941 version of Falcon grants viewers 101 stellar minutes of intrigue and fascination, as they follow the determined, fearless Spade on his hunt to uncover the mystery tied to the mysterious “black bird.”

                John Huston, already established as a top screenwriter with credits such as Jezebel, High Sierra, Dr. Ehrich’s Magic Bullet and Sergeant York (receiving Oscar nominations for the latter two), gh Sierraentered the directorial field with one of the best first efforts ever, as he artfully depicts all the themes and characters involved in Falcon in a focused, enthralling fashion. Although a novice, Huston appears to handle the material with complete confidence and ease, while allowing his sublime cast the freedom to act with individuality and style in creating their exceptional performances. Huston has a gift for simplicity in the way he unfolds the complex scenario, presenting each plot device and new personality straightforwardly, but in a way that further draws an audience in, as they ponder how events will play out with each element presented. Following this triumphant debut, Huston would go on to build one of the richest filmographies, in the process winning two Oscars for another classic with Bogart, The Treasure of the Sierra Madre, besides helming The Asphalt Jungle, The African Queen, Moulin Rouge, Moby Dick and The Misfits, while also scoring as an actor with an Oscar nomination for 1963's The Cardinal and via his creation of one of the cinema’s most sinister villains, Noah Cross in Chinatown, then closing his esteemed directorial career with the one-two punch of Prizzi’s Honor and The Dead.

                For Humphrey Bogart, Falcon would secure his place among the Warner elite after High Sierra marked his first major 1941 cinematic breakthrough as a new kind of tough, uncompromising, yet identifiable and sympathetic male star. Starting on stage, Bogart’s success on Broadway would lead to a 1930 film debut, then a decade wherein he honed his craft, moving up to second leads and quality pictures, specifically after his huge impact as gangster Duke Mantee on stage and in the 1936 movie adaptation of The Petrified Forest, which led to other choice roles, often as the chief bad guy, in such “a” pictures as Marked Women, Angels with Dirty Faces, The Roaring Twenties and as against type as he would ever be as the Irish stable master in love with Bette Davis in Dark Victory. Conversely, Bogart was clearly in command and comfortable with of the art of screen acting with Falcon, wherein he provides the ideal portrait of anti-hero Spade, convincing viewers this no-nonsense detective has the willpower and intelligence to take on a bevy of unsavory criminals as he works to solve the plot’s key murder, while also discovering his adversaries plans surrounding obtaining possession of the Falcon. After his remarkable work in Falcon, Bogart would remain a vital force in films, with his imposing filmography growing to include such classics as Casablanca, starting a legendary teaming with Lauren Bacall in To Have and Have Not, with Huston again for, among others, The Treasure of the Sierra Madre, Key Largo (opposite Bacall), and his Oscar-winning work in The African Queen and thriving in the 1950s with In a Lonely Place, The Caine Mutiny, We’re No Angels and, just before his passing in 1957, ending his career in peak form via The Desperate Hours and the Harder They Fall, before going on in subsequent decades to become a classic movie icon/cult figure as new audiences discovered the depth of Bogart’s talent and the exceptional level of quality found in his film output.

Mary Astor was also witnessing a great 1941 with her skillful assaying of Falcon’s Brigid O’Shaughnessy, who serves as an early blueprint for the scores of femme fatales to dominate film noir, as well as going toe-to-toe with Bette Davis in The Great Lie, leading to an Astor Best Supporting Actress Oscar win in 1942. After becoming a star in her teens opposite John Barrymore in 1924’s Beau Brummel, Astor would further build her career in the 1930’s with top fare such as Red Dust, Dodsworth, The Hurricane and closing out the decade with the peerless 1939 comedy, Midnight. As Brigid, she expertly employs a breathless vocal quality and nervous quaver to Brigid’s questionable motives to keep audiences guessing exactly what her ultimate aims are, bringing a compelling dramatic intensity to the role that marks her portrait of Brigid as complex and definitive. She also works perfectly with Bogart, creating a strong sexual chemistry with him in an era wherein the Production Code prohibited overt carnal displays. Post-Falcon, after reuniting with Bogart and Huston for Across the Pacific, Astor would move mainly into mother roles (Meet Me in St. Louis, Little Women, etc.) via a beneficial association with MGM, while occasionally taking on a meaty character part with verve, such as her world-weary b-girl in 1948’s superior noir Act of Violence and ending her career on a high note with her crafty work as Jewel Mayhew, the holder of the key behind the mystery in 1964’s Hush. . .Hush, Sweet Charlotte, before a lengthy retirement, then passing in 1987 at 81.

After four decades on stage, Sydney Greenstreet made one of cinema’s most auspicious debuts as the mysterious Kasper Gutman, appropriately aka “The Fat Man.” Masterfully mixing a calm, jovial countenance with a sinister, controlling nature, by every giggle, leer and gesture Greenstreet conveys Gutman is capable of any dark, traitorous deed necessary to bring the falcon into his possession. Based on his spectacular Falcon debut, Greenstreet would go on to become a staple of 1940’s films, often in unscrupulous roles, including memorably giving Joan Crawford a run for her money as the diabolical sheriff in 1949’s Flamingo Road, one of his final roles. As Joel Cairo, his equally untrustworthy partner in crime, Peter Lorre nimbly illustrates the character’s slick, serene behavior during his initial encounters with Spade, before moving into juicier theatrics that Lorre handles like a rich feast once the plot complications develop. Elisha Cook, Jr., one of film noir’s most unfortunate losers, gets his career in this vein off with style as Wilmer Cook, Gutman’s would-be foreboding henchman and patsy. Lee Patrick brings some warmth and wit to the proceedings as Sam’s loyal, knowing secretary, Effie, while Jerome Cowan makes a brief strong impression as Miles Archer, Spade’s wayward partner. Gladys George adds further stature to an impeccable cast as Miles’ also-wayward wife, Ivy, while Barton MacLane and Ward Bond also on hand to build one of the most hallowed roster of players found in a Warner’s classic. Finally, Huston’s venerated actor father, Walter, shows up in a tiny but important part as Captain Jacoby, with Huston allegedly not revering dad’s talent, making him perform a falling-down bit countless times, until the senior Huston rued doing his son this “good luck” directorial favor.

                The Maltese Falcon’s reputation as a superior crime drama was evident from the start, with healthy box-office and fine reviews a result of the October 1941 release of the film. The National Board of Review cited both Astor and Bogart on their list of top performances of the year, and come Academy Award season Falcon placed nicely, gaining nominations for Best Picture, Huston’s top-notch screenplay, and a Supporting Actor nod for Greenstreet’s masterful debut. The lasting impact of Falcon as one of Classic Cinema’s peerless entries has been reflected with its placement as of the initial entries into the National Film Registry’s list of 25 films for preservation in 1989 and ranking on both the AFI’s 1998 (at #23) and 2007 (at #31) lists of the top 100 American films. With Huston’s fresh, fast-paced helming of his exciting script and a powerhouse cast at their peak, The Maltese Falcon remains a riveting watch for viewers interested in partaking of the web of intrigue brought about by the elusive title statue and those chasing after “the stuff that dreams are made of.”