The Forties were the years when Hollywood decided that the mystery thriller deserved big-budget, big-star treatment, threw up a new kind of hero who was exactly right for his time: they were the fabulous years which established the private eye adventure as the irremovable all-time favorite in the whole field of suspense… The field was so rich, the choice so lavish in that decade, that it was difficult to know where memory should stop and call "Encore".

As the author of the screenplay, Huston made every effort to do justice, and remain faithful, to Dashiell Hammett's novel… But in remaining faithful, the newest version asked audiences to accept the complicated plot at its full strength and that is where the film's main flaw occurs… Names, murders, and intrigues turn up so quickly that it is extremely difficult to understand exactly what is happening in this tale of an assortment of characters in search of a fabulous jewel-encrusted statue…

Probably in no other film will a viewer find a gallery of such diverse human beings whose perfect1y constructed portrayals remain permanently locked in one's memory…

Mary Astor's Brigid O'Shaughnessy is a striking picture of feminine deceit and betrayal… Able to shed tears on command, she is a confirmed liar who can be as deadly as she is beautiful; she can make passionate love to Bogart, but wouldn't hesitate a moment to kill him if it suited her plan… Her performance is surely one of the screen's most brilliant portrayals of duplicity masked with fascination…

Sydney Greenstreet, in his movie debut, was equally memorable as the menacingly mountainous man behind the search for the elusive black bird, and almost stole the picture… Cunning, determined, appreciative of the fine arts, Greenstreet—who seemed to get more dangerous as he got more imperturbably polite—is a man who would devote his entire life to a single quest if need be…

Peter Lorre's Joel Cairo was a resolute picture of classic villainy… With curled hair and impeccably clean dress, he is an unpredictable accomplice of Greenstreet, difficult to deal with…

But it is Bogart's portrayal of Sam Spade that remains classic in its construction… Obviously cynical, he still maintains his own code of ethics which he adheres to faithfully… He is doubtful, but not foolhardy… He is courageous, but not without fear… Spade uses everyone he comes in contact with… He wins not because he's smarter than his enemies, but because he is the only character in a central position… Spade is every bit as ruthless as the crooks who try to use him… His tactics in dealing with them, however, are necessary for his survival...

His treatment of the two women in the film seems equally as harsh, but neither is a wide eyed innocent and both attempt to deceive him in one manner or another… His exchanges with Brigid O'Shaughnessy are electric... Their mutual attraction is undeniable... But Spade will play the fool for no woman… He is a loner, but he has contacts, and knows where to go for what he wants… Even with very little money, he is totally incorruptible… He has no apparent friends… He is laconic, but he can throw a wisecrack as fast as he can throw a punch...

"The Maltese Falcon" molded the image we remember of Bogart all through the early years of the Forties—an image elaborated upon and reinforced in "Casablanca," and the one which all Bogart fans remember with great affection and admiration…

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

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Bogart. The coolest guy to ever live?

Have you ever wondered what makes someone possess an essence that's defined as being "cool"? They seem to have that combination between imagery and soul that few people truly have. Is it in the style of clothes you wear or one's knowledge of independence? Is it the way you comb your hair or your unkempt humility for everything out there? It could be in your talk or how you walk, but maybe it's more about what you say and where you're going. In a sense it's an attitude that seeks to define character and break the mold of control. It's the fine line between knowing when to speak up and when saying less means more. So is Bogart the coolest guy to ever live? In a single word, absolutely.

The Maltese Falcon is basically a showcase for Bogart. A role that seems to be made for him, even with two previous attempts at the film. He is and always was born to play Sam Spade. The tough guy private investigator, who always has the right things to say. More likely to fire a witty comeback than a gun. Able to fall in love, even if only for the moment, and then send her to the gallows. All in the name of doing the right thing. It's not an emotional business.

The movie itself wrote the book of the crime and mystery drama story. Probably the best written plot in it's genre. No doubt that Bogart makes the character come alive, with that infectious voice and his uncompromising demeanor. But the movie itself is, to say the least, very good. The ending just does it for me. The last couple of lines are some of the best in film history.

Although it took me a while to finally see this film, I realize that it's one of Bogart's triumphs and has all the main reasons why I love the guy so much. Please, see this film and remember Bogart as he was.

"Heavy. What is it? The, uh, stuff that dreams are made of."