Rendező:
John HustonForgatókönyvíró:
John HustonOperatőr:
Arthur EdesonZeneszerző:
Adolph DeutschSzereplők:
Humphrey Bogart, Mary Astor, Gladys George, Peter Lorre, Barton MacLane, Lee Patrick, Sydney Greenstreet, Ward Bond, Jerome Cowan, Elisha Cook Jr. (több)Streaming (3)
Tartalmak(1)
A San Franciscó-i magándetektívet egy fiatal nő azzal bízza meg, hogy keresse meg elcsábított húgát. Másnap az állítólagos csábítót és Spade társát meggyilkolják, s az örök outsider magánnyomozó belezuhan egy szövevényes műkincsrablási históriába… Huston kirobbanó sikerű első rendezése, amely sztárrá emelte Bogartot, és iskolát teremtett a krimi műfajában. (Örökmozgó)
(több)Recenziók (4)
It is paradoxical that I never managed to perceive this film as a classic noir, even though was there at the beginning of the famous black series and thus represents the basic building block of the noir genre. I rather associate the genre with tragedy and inner demons, whereas The Maltese Falcon always was for me a genuine crime comedy, thanks to the casting and performances. I can't shake the feeling that Bogart overacts when playing the private detective Sam Spade. He adds so much casualness, confidence, and cynicism that he sometimes crosses the boundaries of caricature. Also, the crafty and scheming characters of Joel Cairo and his boss Kasper Gutman, portrayed by Peter Lorre and Sydney Greenstreet, turn into clownish figures instead of those who should inspire fear. The novel is considered one of the most significant works of American detective literature and has been successfully filmed multiple times. However, to me, the battle over the mysterious valuable statue with a complicated history always seemed more like something out of Indiana Jones adventure stories than a "serious" subject. Overall impression: 65%.
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“I don't mind a reasonable amount of trouble." The debut of one of the biggest kings of the silver screen, John Huston, and the aura of one of the best ever noir movies. And that sort of outweighs the fact that this is “only" a good movie, pulled upward primarily by Humphrey Bogart whose charisma oozes out of him by the gallon (which is nothing new, of course). The fundamental shortcoming of The Maltese Falcon is that nobody joined in with his gala performance. Which is downright regrettable, especially in the female roles. The overall positive impression comes mainly from the perfect ending. But if you don’t expect the impossible from this classic, I don’t think you can be disappointed.
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My favorite film noir. A story with a veil of mystery, relentless pacing, an atmosphere of pleasant uncertainty, and Humphrey Bogart at the peak of his powers, unaware that his charismatic Sam Spade will go down in history. I'll have some rotten nights after I've sent you over, but that'll pass. -- New Year's Eve screening 2005
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A true classic and by all accounts, one of the first films that can be labeled as a film noir. It's tricky because expressionism also played with shadows similarly, while The Maltese Falcon, on the other hand, somewhat avoids them. However, the story about a statuette that everyone is still trying to find is wonderfully effective, and it even surprises with humor, although not with a great ending.
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