A dark, steely performance from Humphrey Bogart is at the cynical heart of John Huston’s adaptation of the classic detective novel
John Huston’s adaptation of the Dashiell Hammett novel, as well as having the greatest MacGuffin of all time, is a ringing disproof of Raymond Chandler’s belief that detective stories depend on men coming through doors with guns. People arrive with guns a good deal in The Maltese Falcon, but mostly without them; Humphrey Bogart’s Sam Spade makes a point of telling us he prefers to be unarmed, and he has a very cool line in disarming other people. And what a superb performance from Bogart: darker, steelier and more ambiguous than his Rick in Casablanca, with all the world-weary cynicism, but none of the romantic sacrifice – just a strangely opaque manipulative streak, a need to use the women that cross his path. It’s a tough wised-up routine,...
John Huston’s adaptation of the Dashiell Hammett novel, as well as having the greatest MacGuffin of all time, is a ringing disproof of Raymond Chandler’s belief that detective stories depend on men coming through doors with guns. People arrive with guns a good deal in The Maltese Falcon, but mostly without them; Humphrey Bogart’s Sam Spade makes a point of telling us he prefers to be unarmed, and he has a very cool line in disarming other people. And what a superb performance from Bogart: darker, steelier and more ambiguous than his Rick in Casablanca, with all the world-weary cynicism, but none of the romantic sacrifice – just a strangely opaque manipulative streak, a need to use the women that cross his path. It’s a tough wised-up routine,...
- 9/17/2021
- by Peter Bradshaw
- The Guardian - Film News
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