🎦 The Maltese Falcon full movie HD download (John Huston) - Crime, Drama, Thriller, Mystery, Film-Noir. 🎬
The Maltese Falcon
Crime, Drama, Thriller, Mystery, Film-Noir
IMDB rating:
John Huston
Humphrey Bogart as Sam Spade
Mary Astor as Brigid O'Shaughnessy
Gladys George as Iva Archer
Peter Lorre as Joel Cairo
Barton MacLane as Det. Lt. Dundy
Lee Patrick as Effie Perine
Sydney Greenstreet as Kasper Gutman
Ward Bond as Det. Tom Polhaus
Jerome Cowan as Miles Archer
Elisha Cook Jr. as Wilmer Cook
James Burke as Luke
Murray Alper as Frank Richman
Storyline: 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.
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The best detective story.
I love this movie. I didn't love it until I'd watched it a couple of times.

And I didn't love it quite so much until I'd read Harvey Greenberg's "Movies on Your Mind."

But I now think that, within the strictures of its budget, it's about as good as it can get. Sam Spade is a marvelous character in this film. He gives practically nothing away, while gathering information from others simply by letting them talk, kind of like a shrink.

And it's hard to believe that they could have found a cast that fit the templates of the novel so perfectly. Sidney Greenstreet IS the "fat man." Peter Lorre IS the queer. My nomination for best scene: When Greenstreet attempts to peel off the black enamel from the captured bird and finds that it's nothing but lead and begins to hack away at it, as if it were alive and he were trying to kill it. Nothing is more amusing than a fat man lipid with rage.

If you see this one, and I hope you do, make note of the phenomenal black and white photography. (I hope you have a good connection.) Watch, for instance, the glissade of the camera when Bogart says, "You have brains. Yes, you do."

In case you're worried about this being too sophisticated for enjoyment by an ordinary audience, I should mention that I showed this (in one connection or another, I forget) to a class of Marines at Camp Lejeune. They enjoyed the hell out of it, especially the scene in which Mary Astor kicks Peter Lorre in the shins.

Don't miss it.
Bogey at his best gives 'em the bird...
In the send-up THE CHEAP DETECTIVE, Peter Falk does a pretty good Humphrey Bogart- but nobody did Bogart like Bogart, and here he's at his very best. He delivers rapid-fire dialogue with a clipped precision and doles out punishment when necessary with two-fisted explosiveness. There's not a bad performance in the film, but my favorite (next to Bogart) has to be Peter Lorre as the sweet-scented Joel Cairo (an unusual performance, to say the least, for a film from this period). He takes it on the chin from pretty much everybody in the movie (the mere mention of Gutman causes him to go limp with fright), but forges ahead. THE MALTESE FALCON is one of those movies it's night impossible not to watch (as I did again just last night, when it turned up on Turner Classic Movies). One of the very best of the best.
Good movie but not as intense as the book.
This is a very good movie but it is at best a watered-down version of the book. This movie does not even come close to capturing the cynicism that permeates throughout the book. Also, Humphrey Bogart is miscast as Sam Spade. In the book, Spade is six-feet tall, is muscular and has blond hair. He crosses the line separating the client from the detective so many times that it is clear that he has joined the gang that he ostensibly had been hired to investigate. He literally becomes one of the thieves, and they are thieves and murderers. Furthermore, Spade obstructs the police who are trying to investigate the case which is involves multiple murders, is not above shaking down people and beating people up and ultimately violates the rights of his client by gaining her confidence and then using the information derived to turn her in to the police, this after he had slept with, stripped her and humiliated her. True, the lady is a murderer, but with extenuating circumstances. Further, Spade is cold-hearted and brutal. He is not above have an affair with his partner's wife and when she comes by for support, brushes her off, this while she is in mourning no less. Now, the question is: why would anyone want to write a such a story? Of course, the answer to that question is purely speculative, but from judging from the nature of the story, the author has a cynical view of American society and questions the honesty and integrity of those institutions that are supposed to protect society. The depiction of the police as being little more than nuisances is a case in point. Two police detectives are investigating a double-homicide, which is serious business, and Spade is refusing to cooperate in the investigation, which, of course, raises suspicions as to his culpability in the crimes. There us nothing about Sam Spade that is heroic, genuine or worthy of emulation. He listens to lies for money and when he learns that the thieves are chasing down something that may be worth a lot of money, he joins the chase, abusing his client's right to confidentiality to extract information, not to help his client but to help himself. The movie depicts Spade in a different light. Here his is cynical but not as overtly brutal. He is not shown sleeping with the woman nor of stripping her naked. He is also shown as having a certain code of conduct which he follows while in the book the code of conduct is discarded in favor of crass expediency. Mary Astor is wonderful in the movie, but she too is miscast. The young lady, Brigid O'Shaughnessy, is a whore who is running with a rough crowd and then steals something from a group of thieves, from which the story evolves. She came to Spade for protection and Spade took her money, thus becoming her employee, and confederate. Now, the question of love between Spade and Brigid comes up in the story. Spade repeatedly evades that question, yet his actions speak louder than words, thus showing that he cannot be honest with himself. His actions show that he cares for her: he has the key to her apartment, he sleeps with her, he kisses her, her caresses her, and intercedes on her behalf when another man, Cairo, attempts to molest her. She has no shame with him. In short, she loves Spade, and in return, Spade informs on her because he doesn't want to become one of her saps, which he had already become the money he took her money. Now, does this mean the movie should not be watched. Of course not, it is a classic and is entertaining. But don't expect to find it as intense as the book, because it is not.
Blurring The Lines: The Maltese Falcon and Noir
In the 1940s and beginning with films like John Huston's 1941 classic The Maltese Falcon, certain American crime films began to be made with sets of very differently imagined themes and characters as well as a new jangling aesthetic sensibilities. Where most American films in the 1930s and earlier were centred on clear and archetypal conflicts and motivations (for instance the oft-repeated rags-to- riches and good-versus-evil tropes), featuring characters that mostly stayed within easily identifiable limits, things changed in the 1940s. As is often the case with the emergence of new art forms, this new film noir 'mode' was probably borne out of a combination of important upheavals in the socio-economic, global political, and academic realities just prior to - and during - World War Two.

A characteristic of film noir which seems to be part of its very definition is the permeating sense that pretty much everything isn't what it seems at first. This is reflected across virtually all the components of each film noir, from their plot to their aesthetic style. In The Maltese Falcon (as an early example of the movement), although the visual style is compelling, the truly disarming element is the complexity and ambiguities inherent in the plot and the characters themselves. The narrative here is built by laying layer upon layer of lies and hidden truths, adding higher stakes and more suspense with each sequence, right up until the very climax of the film when the actual truth of the affair is tortuously wrenched from the mouths of the caper's players by the hero, Detective Sam Spade, played with unremitting verve and intense presence by Humphrey Bogart.

Spade's character is a perfect example of the central theme of the film (and by extension, many film noirs which followed it). His private eye isn't a policeman. He's essentially a gun-for-hire, and while he mostly seems to operate within the law, he is at least as sneaky and cunning as the criminals in the film. He lies to (mostly maladroit) policemen when it suits him; he engages in cloak-and- dagger surveillance; he is seduced and seduces his client to extract information from her… he seems to revel in his clever, silver- tongued confrontations with underworld types as he seeks to uncover the truth about his client, Miss Wonderly/Brigid O'Shaugnessy, and her association with a trio of greedy, unscrupulous fiends, and the mysterious falcon itself.

When his partner is murdered at the outset of the story, he dispassionately tells his secretary to remove his name, immediately, from the office doors and windows. Moreover, it is soon revealed Sam had been sleeping with his partner's wife, who then is also jettisoned unceremoniously from the plot when she emotionally inquires as to Sam's involvement with the murder. This is not your typical good guy – an anti-hero at best! Regardless of his personal failings, character quirks and borderline objectionable morals, Spade's strengths and his actions throughout the film make him a sympathetic character. This internal complexity, paired with a classic performance by Bogart, make him a much more human, three- dimensional character than was the norm in crime films before, and it became the mold from which countless iterations were shaped.

Brigid, the other substantial character of note, is the prototypical femme fatale. She is similar to Sam in her manipulative intelligence and no-holds-barred pursuit of her objective; where Sam was working the case for cash (and to prevent being falsely accused of his partner's murder), Brigid coveted the priceless falcon. Nothing she says to anyone in the first 95% of the film turns out to be the truth. In fact, the plot of the film is essentially a quest to decode her lies in time to save Sam's reputation as well as to earn him a big payday. Her misdirection and convoluted machinations to manipulate the men in the film is nothing short of genius, but what makes eventually makes her the tragic figure is that her greed made her cross one moral absolute that Sam seems convinced of: as the murderer of his partner she must face justice. But even this judgement comes with words to the effect that it was one line he could not cross in the industry of detective work, not necessarily his own personal viewpoint. Oh, the humanity!

There are many more examples of betrayals and wickedness in the film, including Gutman's willingness to frame his loyal hired gun "the fall guy" for the whole affair when Sam suggests it, as well as Brigid's seduction of the captain of the boat bringing the falcon to America resulting in his untimely end. These characters are the archetypes (including Gutman's 'Fat Man' kingpin-type and the queer- coded henchman Joel Cairo) which continue to inspire imitations, homages and parodies.

The world was in a state of deep existential angst at the time this film was released, in fact, it was released only a couple of months before America would be shocked to its core and drawn into a true nightmare by the Pearl Harbour bombing by the Japanese. Rumours of German atrocities across the ocean, the ever-growing threat of fascism and the spectre of American political paranoia that was lurking just around the corner likely propelled the narrative and aesthetic style and themes exhibited in The Maltese Falcon to reach increasingly ominous and arresting heights before the first cycle of the film noir movement would arrive at its desinence in the late 50s.
Exciting to say the least
This movie shows a classic detective at his best. This film became a classic for Warner Brothers and you can tell immediately why it became so famous. The dialog between the characters is snappy and intelligent and keeps you interested. There are even a couple fight scenes that are menacing and keep you on your toes. You get sucked into what you are watching and makes you want more. The acting in this movie is flawless and the actors have just the right expressions and deliver the lines perfectly to get their point across. Emotions are flying and it keeps you on your toes to find out who actually stole the priceless statuette. I recommend anyone seeing this who likes a good mystery.
Bird Breeds Greed
Ward Bond plays a cop in The Maltese Falcon. The actor with the most appearances in American Film Institute Top 100 movies (7 in all) is electric in this picture His charisma catches your eye and his final line "huh?" should've been on the AFI's list of Top 100 Quotes. Bond's performance is...

I'm just jerkin' your chain! Yeah, Ward Bond acts in the most AFI films and he does play a cop here, but Humphrey Bogart is the story. This was Bogie's big breakout (along with High Sierra that same year) and he lights it up. The man paid his dues for a while and played the heavy in 1930s films before they finally gave him the chance to be a leading man. Interesting that he often played shady "heroes"---including in The Maltese Falcon---rather than being straight-up nice-nice.

Bogie's Sam Spade sees his partner get killed and he gains (and then loses) a love interest all in what seems like a few days. He also comes one phony statue shy of being a rich man. They all want that bird. Crooks all. Each of the villains in this piece is memorable: Sydney Greenstreet (debutting as Kasper Gutman), Peter Lorre (slimy and fey), Elisha Cook (weird, as always) and Mary Astor (constantly on the verge of hysteria or passing out).

The last half-hour is tense, yet it's just 5 people waiting around in a room. Writer/director John Huston (in his own breakout) didn't change much from Dashiell Hammett's novel, making him a smart writer/director. Apparently, the AFI agreed. They had it at 23rd and then 31st on their 2 Top 100 lists. They're correct. This one is a honey. And Bogart is outstanding. He still had Casablanca and Treasure Of The Sierra Madre in his future, but his work in Falcon is...corny alert...the stuff that dreams are made of. And then Ward Bond follows with "huh?" See? Great follow-up line. Attaboy, Wardo!

If you dug this snapshot review, check out the website I share with my wife (www.top100project.com) and go to the "Podcasts" section for our 38-minute Maltese Falcon 'cast...and many others. Or find us on Itunes under "Top 100 Project".
loved this film
I have always been a big fan of movies like this and have watched this one a couple of times actually. I absolutely loved the casting of Sam Spade and his secretary OShaughnessy and they complimented each other magnificently throughout the film as Spade worked to find the prized possession. I think this is an American classic for a mystery film and really set the bar high for films after this that try to achieve the same thing in a film. While I found the film not as action packed as some may have wished it to be nowadays, the mystery and how it is unveiled is truly a masterpiece. I found it interesting how this was made after the book and can see how it must have been brilliantly written. Overall I would recommend this film to anyone and I have came back and loved it time and time again
"The stuff that dreams are made of"
Among the movies we not only love but treasure, "The Maltese Falcon" stands as one of those films. Consider what was true after its release in 1941 and was not true before:

(1) The movie defined Humphrey Bogart's performances for the rest of his life; his hard-boiled Sam Spade rescued him from a decade of middling roles in B gangster movies and positioned him for "Casablanca," "Treasure of the Sierra Madre," "The African Queen" and his other classics. (2) It was the first film directed by John Huston, who for more than 40 years would be a prolific maker of movies that were muscular, stylish and daring. (3) It contained the first screen appearance of Sydney Greenstreet, who went on, in "Casablanca" and many other films, to become one of the most striking character actors in movie history. (4) It was the first pairing of Greenstreet and Peter Lorre, and so well did they work together that they made nine other movies, including "Casablanca" in 1942 and "The Mask of Dimitrios" (1944), in which they were not supporting actors but actually the stars. (5) And some film histories consider "The Maltese Falcon" the first film noir.

The moment that sticks out for me comes near the end, when Brigid O'Shaughnessy (Mary Astor) has been collared for murdering Spade's partner. She says she loves Spade. She asks if Sam loves her. She pleads for him to spare her from the law. And he replies, in a speech some people can quote by heart, "I hope they don't hang you, precious, by that sweet neck. . . . The chances are you'll get off with life. That means if you're a good girl, you'll be out in 20 years. I'll be waiting for you. If they hang you, I'll always remember you."

Spade is cold and hard, like his name. When he gets the news that his partner has been murdered, he doesn't blink an eye. Didn't like the guy. Kisses his widow the moment they're alone together. Beats up Joel Cairo (Lorre), loses patience with Greenstreet, throws his cigar into the fire, smashes his glass, barks out a threat, slams the door and then grins to himself in the hallway, amused by his own act.

If he didn't like his partner, Spade nevertheless observes a sort of code involving his death. "When a man's partner is killed," he tells Brigid, "he's supposed to do something about it." He doesn't like the cops, either; the only person he really seems to like is his secretary, Effie (Lee Patrick), who sits on his desk, lights his cigarettes, knows his sins and accepts them. How does Bogart make a character get away with making such a dark guy the hero of a film? Because he does his job according to the rules he lives by, and because we sense (as we always would with Bogart after this role) that the toughness conceals old wounds and broken dreams.

The plot is the last thing you think of about. The Maltese Falcon is a black bird (said to be made of gold and encrusted with jewels) has been stolen, men have been killed for it, and now Gutman (Greenstreet) has arrived with his lackeys (Lorre and Elisha Cook Jr.) to get it back. Spade gets involved because the Mary Astor character hires him to--but the plot goes around and around, and eventually we realize that the black bird is an example of Hitchcock's "MacGuffin"--it doesn't matter what it is, so long as everyone in the story wants or fears it.

To describe the plot in a linear and logical fashion is almost impossible. That doesn't matter. The movie is essentially a series of conversations punctuated by brief, violent interludes. It's all style. It isn't violence or chases, but the way the actors look, move, speak and embody their characters. Under the style is attitude: Hard men, in a hard season, in a society emerging from Depression and heading for war, are motivated by greed and capable of murder. For an hourly fee, Sam Spade will negotiate this terrain. Everything there is to know about Sam Spade is contained in the scene where Bridget asks for his help and he criticizes her performance: "You're good. It's chiefly your eyes, I think--and that throb you get in your voice when you say things like, 'be generous, Mr. Spade.'"
Bogart makes it watchable.
Bogart made this film watchable. The rest of the cast acted well in it too though and and some of the dialogue is superb. However, upon viewing the film, I discovered that the story itself lacked any real zest or spark that could keep my interest. I had referred to the high rating on this website and the 5* rating Empire (film magazine) had given the film when it came to making my purchase, but needless to say I was very disappointed.

After much double crossing amongst the ensemble cast, the movie lets us know the movies main concerns - the whereabouts of the Maltese Falcon and who killed Miles Archer. By this time, however, I had lost interest in the film considerably and I was neither surprised to discover who had killed Mr Archer nor did I care for the character who had. Also, the fact that the Maltese Falcon itself doesn't turn up in the end made the main resolution of the film redundant, futile and again highly predictable.

So to conclude, I wouldn't call this movie good nor would I recommend you watch it. And the only reason it got 4/10 (2*) as oppose to 2/10(1*) is because of the intense and often intriguing performance of Humphrey Bogart as Samuel Spade.
📹 The Maltese Falcon full movie HD download 1941 - Humphrey Bogart, Mary Astor, Gladys George, Peter Lorre, Barton MacLane, Lee Patrick, Sydney Greenstreet, Ward Bond, Jerome Cowan, Elisha Cook Jr., James Burke, Murray Alper, John Hamilton - USA. 📀