Die Spur des Falken (1941)

Die Spur des Falken: Directed by John Huston. With Humphrey Bogart, Mary Astor, Gladys George, Peter Lorre. A private detective takes on a case that involves him with three eccentric criminals, a gorgeous liar, and their quest for a priceless statuette.

“u0026quot;The Maltese Falconu0026quot;, scripted and directed by Hollywood first-timer John Huston (from Dashiell Hammettu0026#39;s novel), would go on to become an American film classic. Humphrey Bogart chews the scenery in his star-making turn as acid-tongued private eye Sam Spade, whose association with the beautiful and aloof Brigid Ou0026#39;Shaughnessy (Mary Astor), neurotic Joel Cairo (Peter Lorre), and morbidly obese Kasper Gutman (Sydney Greenstreet, in his Oscar-nominated screen debut) over the recovery of the title object, sets in motion a movie experience that is as much crackling as it is dazzling. While much of the action and dialogue is considerably dated by modern standards, the filmu0026#39;s essential power to mystify and entrance remains undiminished despite its age. While this was the third adaptation of Hammettu0026#39;s story (the first was made in 1931 and the second was u0026quot;Satan Met a Ladyu0026quot; (1936)), this is also the best remembered and most praised, due largely in part to Bogartu0026#39;s seemingly effortless portrayal of the tough but softhearted, world-weary hero. Mary Astor and Lee Patrick were, respectively, the definitive femme fatale and girl Friday, and the villianous roles of Cairo, Gutman and Wilmer (Elisha Cook Jr.) were equally remarkable. What may not be wholly obvious is the fact that these three men have homosexual tendencies (as given in the novel), but just look at whatu0026#39;s given: Cairou0026#39;s delicate speech and manner, Wilmeru0026#39;s questionable quick tempered attitude towards Spade (could this be covering up the fact that he finds Spade attractive?) and Gutmanu0026#39;s clutching of Spadeu0026#39;s arm when Sam arrives at his hotel room. A polished film noir that gave rise to Bogartu0026#39;s mounting popularity. (Sidenote: The character of Sam Spade was originally offered to George Raft, who turned it down. Raft also turned down u0026quot;Casablancau0026quot; (1942), u0026quot;High Sierrau0026quot; (1941) and William Wyleru0026#39;s u0026quot;Dead Endu0026quot; (1937), all of which went to Bogart and helped to boost his star status. Bogart had Raft to thank for his enduring popularity.) A must-see masterpiece. ****”