🎦 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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"I don't mind a reasonable amount of trouble"
Nobody can be trusted. In the fast-talking, winner-take-all world of private investigation, you must always have eyes at the back of your head, otherwise, you'll wind up with bullets in your back. The overweight, conversational "Fat Man" (Sidney Greenstreet) has a few nasty tricks up his sleeve; the harmless-looking Joel Cairo (Peter Lorre) is determined to complete the task at hand; the frustrated hired hoodlum Wilmer (Elisha Cook, Jr.) knows how to hold a grudge; the deceptive femme fatale Brigid O'Shaughnessy (Mary Astor) speaks naught but lies. This is the seedy world of private dick Sam Spade (the one-and-only Humphrey Bogart), a man who is used to being in control, always cocky in the face of danger, and never afraid to do what it takes to unravel a case. 'The Maltese Falcon' was the second great debut of 1941 (after Orson Welles' effort, of course), and even today remains a gripping and unpredictable thriller, with a perfect cast, intelligent dialogue and a twisted, winding storyline that will keep you guessing until the very end.

Just last night, I was fortunate enough to attend a double-bill cinema screening of 'The Maltese Falcon' and 'The Big Sleep (1946).' The screening was my second viewing for both films, and Hawks' film seemed to receive a stronger audience response. Though both pictures undoubtedly emerge from the same storytelling mould, borne from the hard-boiled fiction of Dashiell Hammett and Raymond Chandler, respectively, there are marked differences to be found in where each director places storytelling emphasis. Whereas 'The Big Sleep' wades determinedly through swathes of seedy characters, many faceless and unseen, John Huston is considerably more concise with regard to his characters and plot. Sam Spade's investigation revolves almost entirely around five central roles, close-knit acquaintances who are continually stabbing one another in the back. This degree of intimacy works well with the story, ensuring that each character has a well-developed personality and back-story to justify their behaviour through the film, however frequently they utilise lies and deception.

'The Maltese Falcon' is often cited as the first true film noir, which isn't entirely accurate. 'Stranger on the Third Floor (1940)' and 'High Sierra (1941)' more closely exhibit the sensibilities of the style, whereas Huston's film is strongly indebted to the pulp crime films of the 1930s, such as 'The Thin Man (1934)' {not coincidentally a Dashiell Hammett creation} and its sequels. Indeed, 'The Maltese Falcon' was in fact the third adaptation of Hammett's 1930 detective novel of the same, but it is generally considered to be the best of the three. What the film did contribute, however, is Mary Astor as the archetypal femme fatale, a lying dame whose rottenness is evident from the beginning, but whose charms are such that men are putty in her hands. The notion of a strong, independent heroine had grown in popularity throughout the thirties, and here it was turned against the usual male oppressor. In the film's cruel but justified ending, Spade acknowledges being influenced by O'Shaughnessy's allure, but ultimately reasserts his dominance by condemning her to prison despite his possible love for her.
Absorbing and worthy suspense film about blackmails , killings , corruption and strong intrigue
This one of the all-time grand films , a classic Noir Film with gritty interpretation , atmospheric settings and powerhouse filmmaking , at John Huston's first effort directorial . This is a story as explosive as his blazing automatics . Womanizer Sam Sapade is a two-fisted and cynical private detective operating in the big city . When his secretary tells him the new customer (Mary Astor) waiting outside his office is a knockout, he wastes no time before seeing her. It turns out she's a knockout with money. And she wants to spend it on his services as a private detective . This lovely dame with dangerous lies employs the services of the notorious private detective . She has some story about wanting to protect her sister. Neither he nor his partner, Miles Archer, believes it. But with the money she's paying, who cares? The job proves to be more dangerous than either of them expected. It involves not just the lovely dame with the dangerous lies, but also the sweaty Casper Gutman (Sidney Greenstreet) , the fey Joel Cairo (Peter Lorre) , and the thuggish young Wilmer Cook (Elisha Cook Jr) . Three crooks, and all of them are looking for the statuette of a black bird they call the Maltese Falcon . Spade is quickly caught up in the mystery and intrigue of a statuette known as the Maltese Falcon . As Sam fights to get hold of a black bird ¨the stuff that dreams are made¨ (a line suggested by Humphrey Bogart was voted as the #14 movie quote by the American Film Institute) .

This first-rate and entertaining picture draws its riveting tale and power from the interaction of finely drawn roles as well as drama , emotion and moody atmosphere . This classic mystery thriller follows Dashiell Hammett's book fairly closely otherwise , he also wrote ¨The thin man¨. Twisted film Noir about murders , troubled relationships , treason , dark secrets , including an unforgettable dialog ; being based on the novel ¨The Maltese Falcon¨¨and screen-written by the same Huston . Frustrated at seeing his script for Juárez (1939) rewritten by Paul Muni, the film's star, John Huston vowed that from then on he would direct his own screenplays and therefore not have to see them get meddled with. He was fortunate in that he had a staunch ally in the form of producer Henry Blanke who was happy to fulfill Huston's wish. Word-for-word and scene-for-scene virtually the same as the original novel. It packs a good realization , an original script , haunting atmosphere , intriguing events ; for that reason madness and murder prevail .The climactic confrontation scene lasts nearly 20 minutes, one-fifth of the entire running time of the film. It involves all five principal characters, and filming required over one full week . Here Bogart is extraordinary and as cool as ever ; he plays as the tough-talking P.I. Although George Raft was originally cast as Sam Spade , he allegedly turned it down because it was "not an important picture," taking advantage of a clause in his contract that said he did not have to work on remakes . For decades this film could not be legally shown on US television stations because of its underlying suggestions of "illicit" sexual activity among the characters (i.e., O'Shaughnessy's promiscuity, indications that Joel Cairo was a homosexual). Much of the movie is filmed over Humphrey Bogart's shoulder so that the audience can be in on his point of view. His scenes with Mary Astor are awesome and at their best compared to those he subsequently shared with Lauren Bacall in ¨Dark passage¨ , ¨Key Largo¨ , ¨The big sleep¨ and ¨To have and to have not¨ . The couple Bogart-Astor throws in enough sparks to ignite several lighters . This was the first pairing of cynical Humphrey Bogart and Femme Fatale Mary Astor . Mary Astor's off-screen notoriety was instrumental in her casting , she had been in several scandals concerning affairs she had been involved in during her marriage. And she was having an affair with John Huston during the making of the film. Magnificent support cast , here was the first pairing of Sydney Greenstreet and Peter Lorre, who would go on to make nine more movies together. Exciting as well as complex film , possessing a mysterious and fascinating blend of gripping thriller , serenity , baroque suspense in which especially stands out the portentous performances , evocative cinematography in black and white by Arthur Edeson and magnificent musical score by the classic Adolph Deutsch . And also shown in horrible computer-colored version . The motion picture was masterfully directed by John Huston ; filming was completed in two months at a cost of less than $300,000.

A former version in 1931 by Roy Del Ruth , it was also pretty good starred by Bebe Daniels as Ruth Wonderly , Ricardo Cortez as Sam Spade , Dudley Digges as Casper Gutman and Una Merkel as Effie Perine . In fact , Warner Bros. planned to change the name of the film to "The Gent from Frisco" because the novel's title had already been used for this The Maltese Falcon (1931) , the studio eventually agreed to keep the original title at John Huston's insistence.
A shaggy dog story with feathers and Humphrey Bogart
image1.jpeg A private detective takes on a case that involves him with three eccentric criminals, a gorgeous (?) liar, and their quest for a priceless statuette. Caught on Late night Hungarian TV, February 2017. The Maltese Falcon, 1941, was the directing debut of John Huston and the career breakthrough role of Humphrey Bogart, then Himself 41. Until then Bogey had played a string of notorious criminals and unsavory bad guys in gangster pix and always got killed at the end. In Falcon he comes into his own as a the cynical cool cucumber on the right side of the law, or almost, that we we will remember him as forever after.

This particular film has some remarkable moments, some fine B/w photography, and some terrific characters; Besides Bogey, Peter Lorre, Sidney Greenstreet (if anything, even cooler than Bogart) and the best mousy punk ever, Elisha Cook. Jr. but it is basically a B detective story that has been enormously overrated and praised to high heaven by reverse intello-critics who have even convinced a legion of critical camp followers that this is "one of the greatest movies of all time".

First of all, it is not the first "film noir" as some apologists have claimed nor is it by any stretch of the imagination the greatest movie of all time. It is not even a film noir by the usual standards of that genre nor is it a great script as others have claimed, It's a very muddled script that is carried along by some fabulous characters and whose numerous potholes are slicked over by some very smooth dialogue. The main figures are very well drawn but the story about a chase after a valuable stuffed bird is more of a red herring than a black bird of prey.

The major weak point of the picture, however, is the insipidness of the anti-heroine played by unsexy plain looking actress Mary Astor for whom hard boiled detective Sam Spade (Bogart ) is supposed to have the hots throughout and even slips her a few half hearted kisses at times, but then realizing she is an unscrupulous murderess has to turn her into the cops who have been bugging him all along. (Ward Bond was one of them).

For all its weaknesses and credibility gaps just watching Bogart evolve in this picture from a crass villain to a leading superstar in one easy lesson, and especially the finely crafted scenes between himself and Bulky silky middle aged actor Sidney Greenstreet (who should have gotten co-star billing) elevate this ordinary programmer to the realm of high entertainment. But let us not get carried away -- high entertainment is not the same as High Art. This is not the Greatest Story Ever Told on screen... Casablance, which followed the next year, again with Bogart, Lorre and Greenstreet, but a different director and this time with a much more attractive leading lady -- an actress by the name of Ingrid Bergman -- was a much better movie, and definitely in the realm of cinema art even though it too was originally intended to be mass entertainment. There comes a point where the distinction between extraordinary craftsmanship and artistry melts away. Director Michael Curtiz was such a perfect craftsman that that he became an artist without even trying. John Huston was a very good craftsman, but the craftsmanship always showed.

Aside from everything else what makes Maltese Falcon is the personalities of the main players. I didn't think it was an exceptionally good movie when I saw it as an uncritical kid eons ago. Decades later as a critical adult my original impression hasn't changed much. Two stars for the story. Four stars for the actors. Six Stars total -- and that's being kind of generous..
A classic with good reason
While there are films that are considered classic for their technical achievements and classics that resound with audiences for a feel-good emotion, The Maltese Falcon stands in that group that is a classic for every aspect of its creative makeup. With a brilliant script, talented direction and some outstanding performances, The Maltese Falcon stands up today as well as it did upon release.

When Sam Spade -- played brilliantly by Humphrey Bogart -- and his partner Archer are hired to tail a rich eccentric by a woman who claims her sister is being unwittingly kept separated from her by the rich eccentric, it seems like just another case. But when Archer and the eccentric are gunned down and all fingers point to Sam Spade for conflicting yet damning reasons, Spade is thrown into a whirlwind of deceptions that all point in one direction: a Maltese statue of a falcon.

Bogart demonstrates clearly why he is one of the great classic actors of the 20th century, and indeed one of the most natural screen actors ever. His charisma, charm and intense masculine looks give him a presence that simply dominates the screen. With a host of other great talents to fill the screen, there is not a moment of wasted performance. The direction is tight and driving and the pacing never lets up. And the script demonstrates why there are less and less truly great films being released in present day: the writers and directors of the golden age of cinema knew that subtlety works ten times more effectively than the modern in-your-face all-the-time works.

The Maltese Falcon is a timeless work that deserves its place in the list of greatest films ever made.
John Huston's Directional Debut Is One Of The First Examples Of Film-Noir!
Jam-packed with twists n turns from start to finish, presenting Humphrey Bogart in one of his most impressive roles, and also marking the feature film debut for esteemed filmmaker John Huston, The Maltese Falcon is regarded by many as one of the first examples of film noir and although its plot is always on the move, I wasn't entirely enthralled by it.

Based on the novel of the same name, The Maltese Falcon tells the story of Sam Spade; a private investigator in San Francisco who takes on a case that results in his partner's death on the very first night, and involves not only his beautiful client who's very manipulative but three more eccentric criminals, who are on a quest to obtain a priceless statuette.

Written & directed by John Huston, this is a finely crafted mystery that instantly sets its tone & is swiftly narrated from that point onwards but then, it also stays on the same level from beginning to end because of which there is no escalation in the story. But it nonetheless features some impressively staged camera-work & tight editing which makes sure every scene has a role to play.

Coming to the performances, The Maltese Falcon packs in a dependable cast in Humphrey Bogart, Mary Astor, Gladys George, Peter Lorre, Sydney Greenstreet & others and everyone is very poised in their given roles. Bogart delivers a supremely confident performance as the private detective Slade, Astor is overly melodramatic at times, Lorre is hilarious while Greenstreet steals nearly every moment he's in.

On an overall scale, The Maltese Falcon never really steps on the wrong foot yet the entire experience of sitting through it was quite ordinary. There's rarely a moment when anyone isn't talking, which isn't a complaint for it kept the momentum going but none of its twists leave a lasting impression. The film is at its best when the screen is shared by Bogart & Greenstreet and for that alone, The Maltese Falcon is worth a watch.
Th Maltese Falcon
This movie was great, as well as the plot and the production of it all. Everything had this feel of smoothness and boldness... The images that was placed in front of me was amazing. I was just very appealing to the eyes. Definitely one of those go to the theatre type of movie. Meaning I would spend money to see it haha. The over all quality of the film was nice, the scenes flowed well and the acting from all of the characters was flawless. When watching I wanted to see this Maltese Falcon that everyone wanted, I wanted to see what the big idea was. And to find out that the one they had was a fake was a bit upsetting but blood pumping as well. I felt like I would go on the hunt to find what was desired by many. The film was also sad too. I say this because it turned out to be a action/ love story. I was really rooting for the romance that was but in place, it was sad to see that the main character had to give up his love for the justice of a fallen friend. Honorable. The facial expression Brigid O'Shaughnessy had while being arrested is and will be forever remembered in my head. You could see the heartbreak in her eyes and all over her face. It was so depressing...I wish she was a good guy but without her facade we would have lost some vital conflicts within herself and as well with the Samuel Spade. It seems as though her betrayal made the climax/story.
The Mystical Narrator
Spoilers herein.

There are films which shuffle the vocabulary of past films, and then there are the few films which add to that vocabulary. This is one such, and all the more remarkable because it was Huston's first.

His vision was shocking and established a new genre. The conventional filmmaking skills are pretty poor on this. The photography is soso, the editing poor, the women's acting atrocious. But the manipulation of the narrative in this way was new to film.

Until this point in Hollywood product, the camera was the surrogate of the theater audience-goer. You could trust it. The convention was that you (the camera) would know more than the characters you see. And everything would make sense.

Here, some new things are introduced:

-- the world is against the characters; everyone's life is bleak; no happy ending is in sight

Many people think this defines noir. (Later, the photography would be bleak as well.) but there is another innovation here:

-- the world is against you the viewer to the same extent as the characters. You get no special breaks.

This was a big deal. The same year, Orson Welles would break the position of the camera. No longer would it be bound to where a human would be naturally placed. But here, the very soul of the viewer was compromised: you are swept up in the rules of the created world.

That created world itself wasn't so novel to the book writers, but the notion of a mystery gave a special scaffold. The whole game there is to establish a detective in the world. Then there is a game among you, the detective and the author to see who can outguess whom. It was a great invention in narrative.

Here, you still have three players, all trying to trick one another, but the author gets in the first trick -- declaring that you do not have the safety of your seat, your perspective, your own world: you have to live in the created world, the same as Spade.

The Malta business was built into the book to add some notion of the ancient supernatural as an excuse to disrupt the reader. They got it all historically wrong (they meant the Knights Templar, the same folks who hid Indiana Jones' ark), and in any case glossed over that element in the translation from book to film.

I think Huston was smart enough to know what he was doing. I don't think the actors were. Fortunately, Bogart was effectively mean. But for my money Sidney Greenstreet is the genius here. He is the one around whom this noir world is created, so with Huston can be considered the co-inventors of the genre.

As with Huston, this was Greenstreet's first film. Imagine that.
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.
A story led by characters
The film had a great mystery (Which I wasn't spoiled on!) and a really diverse and interesting set of characters. Usually movies of this variety use their main character as a moral center; I really enjoyed that the Maltese Falcon didn't quite do that. Sure, Sam was our protagonist, but he was rough around the ages and put his feelings before those around him. That being said, my favorite relationship in the film was between him and his girl Friday, Effie. They worked against each other seamlessly and I would have gladly watched an entire movie about them.

As film noir goes, this is up there for me in favorites.
The birth of a genre, and it's a good one!
Private detective Sam Spade's partner is dead, and he believes it has something to do with their newest client. Now he's joined the hunt for a mysterious statue alongside three bizarre criminals. As the hunt continues, no one knows who can be trusted.

Maltese Falcon 4If you want to see the birth of a genre, look no further than The Maltese Falcon. This film opened the door for film noir to enter the American cinematic vocabulary. Two-time Oscar winner, John Huston (The African Queen) was the right man to direct a film like this. His adaptation of the novel by Dashiell Hammett (After The Thin Man) is a wonderful example of how to bring a story to life. In 1941, this film was good enough to earn Oscar nominations for Best Picture and Best Writing.

Maltese Falcon 7The cast for this film is one of my favorite ensembles of the era. Humphrey Bogart (Casablanca), Mary Astor (The Great Lie), Peter Lorre (M), and Sydney Greenstreet (They Died with Their Boots On) come together with an incredible amount of chemistry. Greenstreet earned an Oscar for his portrayal of the obsessed business man and crook, Kasper Gutman. Peter Lorre is equally wonderful in his role as the flamboyant and bumbling thief. Mary Astor plays her part well also, working as a character who appears in many forms. Despite all of these wonderful performances, I think Bogart comes out on top. His delivery of the dialogue set the bar for future film noir actors. His natural ease in front of the camera works to his benefit as he plays the cool and calm private eye.

Maltese Falcon 1The camera work for this movie is nicely done. It avoids any dramatic movement and remains unobtrusive throughout. Thankfully the film also had a great number of sets to film on. Set mainly at night, the film capitalizes on great lighting to create the shadows and the mood necessary for the story.

Maltese Falcon 2The pace of the film is good, and I felt like the story avoided any unnecessary moments. The mystery and intrigue pay off nicely in this classic film. If you're into mysteries and you haven't seen this movie, I would suggest getting a copy right away. This is an awesome movie with great visuals and a wonderful score. I would also recommend this to fans of films like Dial M for Murder or The Big Sleep. I give this one 5 out of 5 stars.
📹 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. 📀