IMDb RATING
6.8/10
3.4K
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A lovely dame with dangerous lies employs the services of a private detective, who is quickly caught up in the mystery and intrigue of a statuette known as the Maltese Falcon.A lovely dame with dangerous lies employs the services of a private detective, who is quickly caught up in the mystery and intrigue of a statuette known as the Maltese Falcon.A lovely dame with dangerous lies employs the services of a private detective, who is quickly caught up in the mystery and intrigue of a statuette known as the Maltese Falcon.
Agostino Borgato
- Capt. John Jacobi
- (uncredited)
Tiny Jones
- Jailbird Seeking Cigarette
- (uncredited)
Cliff Saum
- Baggage Clerk
- (uncredited)
Morgan Wallace
- District Attorney
- (uncredited)
Lucille Ward
- Sarah - Prison Matron
- (uncredited)
Storyline
Did you know
- TriviaArt director Robert M. Haas performed the same function on The Maltese Falcon (1941).
- GoofsThe same prop is used for the suitcase that Spade finds in Miss Wonderly's room and the suitcase which contains the falcon. The travel stickers are identical on each one.
- Quotes
Effie Perrine: Sam, it's a gorgeous new customer.
Sam Spade: Gorgeous?
Effie Perrine: A knockout.
Sam Spade: Send her right in, honey.
Effie Perrine: [to the off-screen customer] Will you step in, please?
[Joel Cairo walks in.]
- ConnectionsFeatured in Great Performances: Bacall on Bogart (1988)
Featured review
Interesting version of a classic
As everyone knows by now (at least if they're on this IMDb page!), this was the original film version of "The Maltese Falcon". And, of course, it (being pre-code) is a lot sexier than the Bogart version, which is to say, comparable to a racy 1970s TV movie. We see Miss Wonderley sleeping in Spade's bed, and actually see her naked in the bathtub (from the shoulders up) at one point.
As in "Satan Met a Lady", the detective is made out to be a sleazy ladies' man in this movie. When we first see him, he's kissing a woman goodbye; we never actually see her face, but we see her adjusting her stocking, and when Sam returns to his office, the pillows from his couch are in disarray. He seems to be getting some from Effie as well (and I must point out that Una Merkel, as Effie, is hot, hot, hot in this movie; quite a contrast to the matronly Lee Patrick in the 1941 version).
Overall, though, this movie is still somewhat unsatisfying. I suppose if we had never seen the Bogart/Huston version, this would stand as an acceptable adaptation of Hammett's novel (by the standards of the time). It follows the novel fairly closely, but skimps on the plot somewhat. The subplot where Wonderley disappears, and then reappears (as O'Shaughnessy) because she realizes Gutman is in town is missing, as is all the great interplay between Spade and Wilmer ("Just keep riding me, buster", "This'll put you in solid with your boss", etc.) that was such a treat in the later version. True, this movie is a little more explicit about the relationship between Gutman and Wilmer, but Wilmer is such a minor character (with literally only a few minutes of screen time) that their relationship still seems more fully-developed in the 1941 movie. There's also a very odd change at the end (just before the prison scene) that seems like something of a cop-out.
And, finally, it must be pointed out that Ricardo Cortez really stinks in this movie. He spends most of the movie with a smirk plastered on his face, and his performance in general is extremely stiff. I suppose that's to be expected in such an early talkie, but, combined with the general aura of sleaziness that his character exudes, it makes it impossible to really care what happens to him. In the end, this is an enjoyable movie, but mainly for reasons of historical curiosity, and it never comes anywhere near the "classic" status that the later remake has achieved.
As in "Satan Met a Lady", the detective is made out to be a sleazy ladies' man in this movie. When we first see him, he's kissing a woman goodbye; we never actually see her face, but we see her adjusting her stocking, and when Sam returns to his office, the pillows from his couch are in disarray. He seems to be getting some from Effie as well (and I must point out that Una Merkel, as Effie, is hot, hot, hot in this movie; quite a contrast to the matronly Lee Patrick in the 1941 version).
Overall, though, this movie is still somewhat unsatisfying. I suppose if we had never seen the Bogart/Huston version, this would stand as an acceptable adaptation of Hammett's novel (by the standards of the time). It follows the novel fairly closely, but skimps on the plot somewhat. The subplot where Wonderley disappears, and then reappears (as O'Shaughnessy) because she realizes Gutman is in town is missing, as is all the great interplay between Spade and Wilmer ("Just keep riding me, buster", "This'll put you in solid with your boss", etc.) that was such a treat in the later version. True, this movie is a little more explicit about the relationship between Gutman and Wilmer, but Wilmer is such a minor character (with literally only a few minutes of screen time) that their relationship still seems more fully-developed in the 1941 movie. There's also a very odd change at the end (just before the prison scene) that seems like something of a cop-out.
And, finally, it must be pointed out that Ricardo Cortez really stinks in this movie. He spends most of the movie with a smirk plastered on his face, and his performance in general is extremely stiff. I suppose that's to be expected in such an early talkie, but, combined with the general aura of sleaziness that his character exudes, it makes it impossible to really care what happens to him. In the end, this is an enjoyable movie, but mainly for reasons of historical curiosity, and it never comes anywhere near the "classic" status that the later remake has achieved.
helpful•3314
- McGonigle
- Nov 19, 2004
- How long is The Maltese Falcon?Powered by Alexa
Details
- Runtime1 hour 20 minutes
- Color
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