From that point on, the story only thickens for Sam, as police detectives investigate the murder of Miles, the mysterious woman reveals herself to be one Brigid O’Shaughnessy and admits to having made up the story about a sister and brother-in-law. Sam’s partner, Miles Archer (Jerome Cowan) accepts the task of tailing Thursby one night, but instead of catching anybody performing illegal acts, he becomes the victim of one, as an unseen shooter murders Miles at point-blank. The woman is distraught, concerned for the safety of her sister who may be at the risk of being physically maimed by her husband, a man named Thursby. One day, a woman (Mary Astor) arrives at his office. Sam Spade (Humphrey Bogart) is the quintessential hard-boiled private detective, co-founder of ‘Spade and Archer’ private eye agency in downtown San Francisco. Consider this week’s review a small chapter in a long, gloriously endless book about what makes Falcon so terrific. That venture shall be left for the historians and appointed experts in the field of film studies. Why? Far be it from this amateur film fanatic to enlighten the readers as to why exactly. As for its quality and worth as part of the long line of noir adventures, it is safe to say that the verdict is clear cut and has been for decades already: The Maltese Falcon is a masterpiece. The origins of the genre and where Huston’s picture comes into play in that debate shall not be discussed, primarily because there is still no genuine consensus, even after all these years. It has often been written and said that John Huston’s 1941 classic, The Maltese Falcon, brought it in the era of film noir, or that it is the definitive entry within the genre. Friday Film Noir: The Maltese Falcon at 80!
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |