🎦 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 1931 original is a better movie and got the shaft
As "classic" as this '41 version is, Roy Del Ruth's underrated original '31 version beats it out in a number of ways.

Spade's relationship to women is much better defined in the original. Bogart kissing Archer's wife at the start of the '41 version feels like a throwaway. It's easy to forget they even had an affair half way through the movie.

In the original it's a defining moment for Spade - painting him as a true womanizer. The film shows that Archer knows what's going on and isn't happy about it.

Spade's happy/sleazy persona in the original makes much better sense than Bogart's tough, smirky one. While it's lovable, it doesn't service the drama as well.

In the original, when Spade is alone with Ruth Wonderly at his place you wonder who is exploiting who and there's a lion's share of real sexual tension. It feels dirtier and truer despite being shot ten years earlier. It's great to watch.

In Huston's remake, Bogart's too smart to be gotten and there's so little actual attraction it's all cat-and-mouse with no real chance of romance.

When Ruth finally comes over to Bogart's apartment, Houston puts Cairo in the scene before the cops arrive. This kills all the sexual tension, turning it into more increasingly convoluted cat-and-mouse writing rather than something relatable.

There are elements Huston added to the '41 version that further convolute the story. The entire scene in which Bogart messes with the Wilmer character in the hotel while speaking to Joel Cairo about his night at the police station is unnecessary and confusing.

It's a scene that is smartly not in the '31 version.

Lastly, the ending is so much more profound in the original that the '41 version doesn't hold a candle to it. "The stuff that dreams are made of" is a famous Bogart line, but is a sad compensation for the power of the original conclusion in which Ruth actually does fall for Sam, but he realizes it after it's far too late.

The final scene takes place between them when he comes to visit her in prison, after getting a promotion. It's astonishingly heartbreaking and extraordinarily well done.

History be damned.

Incidentally Houston was nominated for a screen writing Oscar for this script. If you look at how much of the structure and screenplay remain the same in his remake, it's an outrageous nomination. The things Houston added actually detract from and confuse the narrative rather than making it better in any way.

See the original!
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.
The Maltese Falcon (1941)
Another film I've wanted to see for ages! And it didn't disappoint. I will definitely be watching this again, as it was difficult to focus on the plot and pay attention to camera and lighting work at the same time. Both of which were really lovely. There's probably some debate about this being film noir, but I think it qualifies—the lighting was just great. I love dark photography so of course film noir is a favorite. The camera angles and some of the tracking shots were particularly nice.

I really love the characters in this. Although there is a "good guy" and a "bad guy" in the usual sense, all of the characters have their flaws. I especially like the scene between Brigid and Sam near the ending. Bogart was perfect for Spade, and his performance made the film.
The Maltese Falcon, right off the bat, has very interesting technical elements. It has great compositions in its shots, it seems very balanced and clean, which is very different from many of the older movies I have seen before. Everything in the movie seems remarkably composed and tidy. The transitions between scenes are noticeable but not so noticeable that they become jarring and the editing seems well done. The long shots that they did--especially the very first one on the phone--is really interesting and feels new. It also has some amazing photographic moments, notably the scene between Mister Spade and the widow where the light is shining through the blinds onto the wall The acting and character seem so-so to me, though I believe a lot of the reason I have decided that I dislike it is not because of the quality of the acting itself and more that I was not very interested in the movie itself. Over all so-so, but great technically.
A Potpourri of Vestiges Review: Humphrey Bogart makes his highly deserved tryst with super-stardom in John Huston's directorial debut
Seven decades have passed but the suspense and thrill of The Maltese Falcon still reign supreme. The movie, despite being in black & white, appears strikingly refreshing both to the eyes and the intellect. Primarily remembered as John Huston's directorial debut, the movie played a decisive role in giving Film-Noire its true identity as a genre. The Maltese Falcon also gave Humphrey Bogart his highly deserved super-stardom that had hitherto eluded him. Huston creates an environment of suspicion, doubt and uncertainty that is so convoluted that even Hitchcock would be proud of it. The movie has multiple layers of mystery and suspense that keeps the viewer engaged throughout.

Sam Spade is a private detective who runs an agency with his partner Miles Archer. An ostensibly naive lady, Miss Wanderly offers them a task to pursue a man, Floyd Thursby, who has allegedly run off with her younger sister. The over-simplicity of task arouses Spade's suspicion, but Wanderly's lucrative offer makes the duo overlook it initially. Miles is killed during the pursuit and the police inform Spade of the mishap. Spade only discreetly tells the police that Miles was after a man named Thursby without disclosing anything about Miss Wandely. The police soon find Thursby dead as well and suspect Spade for killing him in an act of revenge. Soon Miles Archer's widow shows up at Spade's office and insinuates of her romantic involvement with Spade, who shuns her away after she tries to incriminate him for the murder. The police come across an anonymous lead and begin suspecting Spade for killing his partner, Miles. The plot thickens with the entry a couple of obscure characters including Joel Cairo, who happens be an acquaintance of Miss Wanderly. He is in pursuit of a highly precious, antique, gold statuette of Maltese Falcon and offers Spade five grands to help him find it. A game of cat and mouse soon ensues, between the various stake holders, which becomes deadlier as the stakes are raised.

Humphrey Bogart perfectly fits into the shoes of Spade—a sleek and sharp sleuth—and makes it his own in a manner that only someone of his grit and caliber could. Bogart is in top form right from the inception to the finale, stealing the spotlight in almost every scene that is he is part of. Bogart could only demonstrate his prodigious talent and acting prowess in short bursts during his long "B movie" stint in which he was mostly type-casted as a gangster. The Maltese Falcon was Bogart's big break after years of anticipation and he didn't leave a single stone unturned to prove his mettle. Bogart shows his class and stamps his authority as a performer during the portrayal of Spade: he is ever so quick-witted thanks to his sublime articulacy and his prowess at repartee seems unparalleled; the inherent cynicism in Spade and the perspicacity with which he operates soon became Bogart's trademark and catapulted him to super-stardom. Many regard Bogart's performance in Casablanca as his absolute best, but I rate his portrayal of Spade second only to his supernal portrayal of Dobbs in The Treasure of Sierre Madre, where he took acting to hitherto unattainable and unforeseeable heights.

John Huston uses the Midas touch he had as a screenwriter to strike all the right cords in his directorial debut. Almost everyone in the supporting cast gives a memorable performance with special mention of Peter Lorre as the deceptive Joel Cairo, Sydney Greenstreet as the witty yet dangerous Kasper Gutman and Mary Astor as the scheming Brigid O' Shaughnessy. The taut plot of the movie, which is masterfully adapted from the novel of the same name by Huston himself, is well complemented by the impressively written dialogs that are delivered with an equal prowess. Amidst the everlasting suspense the movie has an obvious undertone of dark humor that adds great value to the movie. The cinematography undoubtedly features amongst the best works of the time.

The Maltese Falcon is not merely a Noire masterpiece but also a testament to the true spirit of cinema that has kept itself alive despite decades of relentless mutilation and sabotage in the name of commercial movie-making. Despite being devoid of modern-day gimmicks the movie is incredibly high on suspense and holds the viewer in a vice-like grip throughout its runtime. It's a real shame that movies like these are seldom made these days. The tone of the movie is such that it makes suspense thrillers of today appear like kids cartoon.

PS. The movie is an ode to Bogart, Huston and all those who made it a reality. It's suspense cinema at its absolute best with a completely different treatment to themes propagated by the likes of Hitchcock. It's a must for all the Bogart fans worldwide, and absolutely essential for all those who have a penchant for Film-Noire as a genre. 10/10

The Birth of a great director.
The movie was the transformation of John Huston from the scriptwriter to the director. His first movie, yet it's the best of his career and one of the best films ever made. This Neo-noir film has a very smart, yet dark hero. He knows how to handle situations, even when he is in trouble. He is able to act brave and burst in anger, even when he is scared and shivering like a rat.

The main plot revolves around a priceless Maltese Falcon. Samuel Spade, a private detective get involved in the drama created by the people who need to fetch the falcon.

A very thrilling crime investigation movie. You should try it yourself.

Classic film noir - but more holes than a Swiss cheese.
Private "dick" Sam Spade loses his partner to murder and finds himself surrounded by dubious characters searching for a precious antique.

So much has been written about this film that it seems churlish and obvious to start repeating and paraphrasing. Certainly it delivers lightweight thrills, set pieces and sharp one-liners as well as any low budget film and is almost a template for the thousand laconic private-eye movies (serious and otherwise) that followed.

It also set Humphrey Bogart on the road to being the ultimate (film) private detective: A wonderful invention in that they can be both criminal and policeman as convenience dictates.

However, at the risk of seeming negative too soon, there is plenty of things wrong with this movie, most notably the one-dimensional back-of-a-cigarette-packet plot. Where is the suspense when pointing a gun at our hero makes no difference to his demeanour? Do we really believe that the villains will outwit Spade and actually carry off their quarry? Or that Spade will fall for the lame excuses and explanations given in the movie?

Bogart is one of those actors that tries not to gesture or even blink. Variety comes by way of talking in double time or wisecracking. It really reminds me of what Robert De Niro said about acting "people don't show emotions - they try to hide them." The death of his partner (one of the driving points of this movie) doesn't seem to upset him too much, his first thoughts are about removing his name from the door! However, despite his lack of height or conventional good looks, the camera loves him and that is all that matters. He is cooler than a snowman in a North Pole blizzard.

Lorre and Greenstreet are rolled in almost like a comedy double act, with all the menace of second-hand car salesmen (however many guns they pull out). We know that cheats don't prosper in this Warner Brothers film noir world, but they obviously haven't read the rules. They still seem to enjoy their moment of being "king of the castle" and chew the furniture to order, but these people are clearly not in our hero's league.

While highly enjoyable, the Maltese Falcon hardly takes cinema to new levels. If Bogart had not made this movie, but everything else had stayed the same, it would be a totally forgotten work - like the prior version of this same film.

Arm Bogie with a few one-liners, dress him in a dirty raincoat and plonk him on those cheap hardboard-and-smoke Warner Brothers sets and you have solid gold. You just can't go wrong. We will never see his like again...
When I slap you, you'll take it and like it
Tough and gritty, the film noir classic The Maltese Falcon from 1941 has a fantastic cast, led by Humphrey Bogart in the role of hardboiled detective Sam Spade. A dame played by, whoops, a woman played by Mary Astor shows up in his office looking for a guy, but for reasons she's not being truthful about. A couple of murders later, Bogart comes to understand she and others are searching for a priceless antique, a statue of a falcon (from Malta, naturally). Bogart must navigate the waters between the police, who suspect him, the various tough guys, one of whom is the fantastic Peter Lorrie, and Mary Astor's character, who he's attracted to, but knows he cannot trust. Along the way, he'll blow smoke in a guy's face, take and give punches, and deliver several good lines, my favorites of which were "When I slap you, you'll take it and like it", and of course, the last one, in response to being asked what the falcon statue was, saying it's "the stuff dreams are made of". It's regarded as a classic, but for me it's good-not-great. I think one of the issues is the connection to Astor, I didn't see any real chemistry between the two of them, rendering a couple of the scenes false. It's certainly worth watching though.
"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.'"
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.
📹 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. 📀