Spade and Archer is the name of a San Francisco detective agency. That's for Sam Spade and Miles Archer. The two men are partners, but Sam doesn't like Miles much. A knockout, who goes by the name of Miss Wanderly, walks into their office; and by that night everything's changed. Miles is dead. And so is a man named Floyd Thursby. It seems Miss Wanderly is surrounded by dangerous men. There's Joel Cairo, who uses gardenia-scented calling cards. There's Kasper Gutman, with his enormous girth and feigned civility. Her only hope of protection comes from Sam, who is suspected by the police of one or the other murder. More murders are yet to come, and it will all be because of these dangerous men -- and their lust for a statuette of a bird: the Maltese Falcon. Written by
When Warner Brothers saw how successful the film was, the studio decided to produce a sequel. Director John Huston had written the script for the sequel, which was to be titled 'Three Strangers'. The film was supposed to contain many of the primary characters from The Maltese Falcon (1941), specifically Sam Spade. Before the film reached production, however, Dashiell Hammett informed Warner Brothers that he owned the rights to the characters in The Maltese Falcon (1941) and even though the studio had purchased the rights to novel, it did not own the rights to the characters in the novel. Three Strangers (1946) was eventually filmed with different characters. Peter Lorre and Sydney Greenstreet both appeared in both The Maltese Falcon and Three Strangers. See more »
Spade refers to the gun as an automatic, yet he is shown a revolver. The gun shown is a Webley-Fosbery automatic. This was a revolver that used the recoil of the shot to turn the cylinder and re-cock the weapon. It was very well made, but susceptible to dirt and fouling and so, as Spade said, "They don't make 'em anymore". However, it was made in two versions, a six-shot .455 and an eight-shot .38 ACP, so it can't actually be an eight-shot .45 as Spade says it is. See more »
Top notch mystery that kicked off the film noir genre of the 1940s
"The Maltese Falcon", scripted and directed by Hollywood first-timer John Huston (from Dashiell Hammett'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 O'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 film's essential power to mystify and entrance remains undiminished despite its age. While this was the third adaptation of Hammett's story (the first was made in 1931 and the second was "Satan Met a Lady" (1936)), this is also the best remembered and most praised, due largely in part to Bogart'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 what's given: Cairo's delicate speech and manner, Wilmer's questionable quick tempered attitude towards Spade (could this be covering up the fact that he finds Spade attractive?) and Gutman's clutching of Spade's arm when Sam arrives at his hotel room. A polished film noir that gave rise to Bogart's mounting popularity. (Sidenote: The character of Sam Spade was originally offered to George Raft, who turned it down. Raft also turned down "Casablanca" (1942), "High Sierra" (1941) and William Wyler's "Dead End" (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. ****
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