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Hammett (1982)

PG  |   |  Crime, Drama, Mystery  |  17 September 1982 (USA)
6.5
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Ratings: 6.5/10 from 1,969 users  
Reviews: 19 user | 25 critic

The novel writter Dashiell Hammett is involved in the investigation of the mysterious disappearance of a beautiful chinese cabaret actress in San Francisco.

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Title: Hammett (1982)

Hammett (1982) on IMDb 6.5/10

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Cast

Cast overview, first billed only:
...
...
Jimmy Ryan
...
Kit Conger / Sue Alabama
...
English Eddie Hagedorn
...
Eli the Taxi Driver (as Elisha Cook)
Lydia Lei ...
Crystal Ling
...
Lt. O'Mara
...
Detective Bradford
Michael Chow ...
Fong Wei Tau
...
The Punk
...
Donaldina Cameron
...
Elmer Kline ...
Doc Fallon
...
Pops
Samuel Fuller ...
Old Man in Pool Hall
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Storyline

The novel writter Dashiell Hammett is involved in the investigation of the mysterious disappearance of a beautiful chinese cabaret actress in San Francisco. Written by Michel Rudoy <mdrc@hp9000a1.uam.mx>

Plot Summary | Add Synopsis

Taglines:

He Created 'The Maltese Falcon," "Sam Spade" and "The Thin Man". But He Didn't Write This Mystery-Thriller...He Lived It. See more »

Genres:

Crime | Drama | Mystery

Certificate:

PG | See all certifications »
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Details

Country:

Language:

Release Date:

17 September 1982 (USA)  »

Also Known As:

Investigación en el Barrio Chino  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Elisha Cook, who played Wilmer Cook in John Huston's 1941 film, The Maltese Falcon (1941) (which was based on Dashiell Hammett book of the same name), plays Eli the Taxi Driver in Hammett (1982). See more »

Quotes

Hammett: Kit, this is Eli, last of the IWW organizers
Kit Conger: Are you really a Wobbly?
Eli the Taxi Driver: Naw, that's just Hammett talkin'. What I am now is sort of an anarchist, with syndicalist tendencies.
See more »

Connections

Referenced in Le bourreau des coeurs (1983) See more »

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User Reviews

Underrated, undervalued, almost designed to be a cult film from the onset
11 April 2001 | by (San Francisco, CA) – See all my reviews

In the background/historical notes to his novel, "Hammett," author Joe Gores says of one character, ". . . and if you don't know who he's based on, you need to read more Hammett." The movie, more or less based upon the novel, takes Gore's dicta to heart with several key characters. The result can be a whole lot of fun if you know your Hammett; if you're a little weak in that category, the result is merely a lot of fun.

Set in 1927 San Francisco, the film catches Dashiell Hammett in transition: Trying to firmly put his Pinkerton days behind him while establishing himself as a writer, dealing with the twin scourges of his World War I - induced tuberculosis and the alcoholism that will plague him almost to the end of his days, he finds himself drawn back into his old life one last time by the irresistible call of friendship and to honor a debt. By the time he's done, he finds himself having paid a far higher price, learning that he had only thought himself to be totally disillusioned beforehand.

"Hammett" the movie is as much an homage as "Hammett" the novel. It is a rare thing for neither a movie nor a novel to suffer by comparison to each other -- especially when the two are so divergent -- but that is exactly what happens here. The screenplay is strong, the production values uniformly excellent (check out the 1920s Market Street Railway streetcar which passes by in the background briefly in one scene, for example; only one in a thousand viewers might recognize it, and only one in possibly two thousand might appreciate the verisimilitude it provides), the direction and pacing authoritative.

Frederic Forrest is virtually perfect as Hammett; by turns ravaged and buoyant, hardboiled and outraged, at every turn ultimately unstoppable. By the film's close, he makes it very clear that, for Hammett, there will be no turning back; those moodily tapping typewriter keys which formed such an eerie backdrop for much of the action will also provide his salvation, and that this is a good thing.

And anyone who disputes that, as Joe Gores would say, needs to read more Hammett.


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