2014 Blind Spot Series: The Maltese Falcon

Based on the novel by Dashiell Hammett, The Maltese Falcon is the story of a private detective who finds himself dealing a troubling case that involves the search of a statue that everyone wants. Written for the screen and directed by John Huston, the film is a detective story that would be the inspiration for many ideas of what would become film noir with its unique take on language and character motivations. Starring Humphrey Bogart, Mary Astor, Gladys George, Peter Lorre, and Sydney Greenstreet. The Maltese Falcon is a riveting and stylish film from John Huston.

The film revolves around a private detective who finds himself in the middle of a crazed search for a rare statue that everyone wants as he tries to find out who killed his partner who was tailing a suspect. It all plays into this statue called the Maltese Falcon where it is a statue worth lots of money as the detective Sam Spade (Humphrey Bogart) wants to know why he’s in the middle of this case where a woman named Brigid O’Shaughnessy (Mary Astor) asks Spade and his partner Archer (Jerome Cowan) to tail a man that would lead to the latter’s death. Yet, O’Shaughnessy is part of a scheme into retrieving this rare statue that a slimy man named Joel Cairo (Peter Lorre) and a determined collector named Kasper Gutman (Sydney Greenstreet) want. With Spade falling for O’Shaughnessy and dealing with the case itself as he finds himself into all sorts of trouble with a lot of twists and turns as there’s very few people he can actually trust.

John Huston’s screenplay definitely plays up to the idea of suspense and language that Dashiell Hammett is known for as a lot of the dialogue is very stylized with its sense of rhythm and in the way the words are said. There’s also some exposition into a lot of the things that happen as well as the story of the Maltese Falcon as the statue itself is a plot device that would become known as the Macguffin. It’s the one thing that everyone wants where Huston knows how to weave the plot into these twists and turns where Spade is often at the center of this crazed search. There is also this conflict in Spade as he falls for O’Shaughnessy even though she is a suspect as his secretary Effie (Lee Patrick) is very suspicious of O’Shaughnessy as she is sort of Spade’s conscience and the one person that he can really trust.

Huston’s direction is very stylish with the way he sets the mood for much of the film where it has this air of suspense and intrigue that continuously looms throughout the film. Huston would use a lot of medium shots as well as some close-ups to play into the drama and suspense while infusing some bits of humor into the film. Much of it would include a few eerie camera angles to play into the sense of style in the way the suspense occurs as there is tension in the film such as the people that Spade would meet. There aren’t many moments of violence as Huston is more focused on just building the mystery as well as play into scenario about what to do when the Maltese Falcon is found. Overall, Huston crafts a very engaging and chilling film about a detective caught in a deadly search to find a priceless statue.

Cinematographer Arthur Edeson does excellent work with the film‘s black-and-white photography to create some unique shadows and lighting schemes for some of the film‘s interior and exterior scenes set at night that would be the basis for the look of film noir. Editor Thomas Richards does fantastic work with the editing as it has a bit of style in the transition wipes while keeping things very straightforward to play into the slow-burn of the suspense. Art director Robert M. Haas does amazing work with the look of Spade‘s office that he shared with his partner to the lavish hotel room that Gutman stayed at.

The gown designs by Orry-Kelly are exquisite for its sense of style as it plays to the looks and personality of the female characters. The sound work of Oliver S. Garretson is terrific for some of the sound effects that are created as well as how it adds to the air of suspense. The film’s music by Adolph Deutsch is wonderful for its for its brooding orchestral score that plays into the suspense along with lush themes for the drama.

The film’s incredible cast include notable small roles from Walter Huston as a police captain, Jerome Cowan as Spade’s partner Archer, Ward Bond as Detective Polhaus, Barton MacLane as Lt. Dundy, and Elisha Cook Jr. as Gutman’s henchman Wilmer. Lee Patrick is wonderful as Spade’s secretary Effie as she is often the one person who is a bit smarter than Spade as she doesn’t trust O’Shaughnessy. Gladys George is terrific as Archer’s wife Iva who thinks Spade killed her husband as she is a former lover of Spade as she isn’t sure what is going on as it plays into Spade’s own suspicions about everything. Sydney Greenstreet is brilliant as the larger-than-life collector Gutman who is eager to have the Maltese Falcon at any cost as he is full of charisma and a presence that is quite intimidating at times.

Peter Lorre is fantastic as the smarmy Joel Cairo as this very flamboyant individual who is very mysterious as Lorre brings that nice sense of sliminess but also charm that makes him so enjoyable to watch. Mary Astor is superb as Brigid O’Shaughnessy as this woman who is the archetype of a femme fatale as she is someone that is quite manipulative while never seeming to get her story straight as she tries to woo Spade into making her feel like a victim. Finally, there’s Humphrey Bogart in a marvelous performance as Sam Spade where Bogart has this intensity and wit to his role that makes him quite cool but also be quite tough as there’s no bullshit about his character yet he isn’t afraid to show some humility as it’s one of Bogart’s finest performances.

The Maltese Falcon is a sensational film from John Huston that features a remarkable performance from Humphrey Bogart. The film is definitely one of the standards in what a mystery should be while making it more about characters and the search for answers rather than action. In the end, The Maltese Falcon is a phenomenal film from John Huston.

© thevoid99 2014

M (1931 film)

Based on an article by Egon Jacobson, M is the story about a child killer who is on the hunt from the mob as he’s also on the run from the police over his crimes. Directed by Fritz Lang and screenplay by Lang and Thea von Harbour with contributions from Paul Falkenberg, Adolf Jensen, and Karl Vash. The film explores the world of a killer being hunted as it revolves all sorts of paranoia from the people. Starring Peter Lorre, Otto Wernicke, Gustaf Grundgrens, Ellen Widmann, Inge Landgut, Theodor Loos, and Friedrich Gnass. M is a visually-entrancing yet chilling film about justice and death.

A series of mysterious disappearances and deaths of children has been running rampant as a young girl named Elsie Beckmann (Inge Landgut) was just abducted. The killer named Hans Beckert (Peter Lorre) sends a letter to a local paper giving the police clues in the search for him. Raids are happening led by Inspector Lohmann (Otto Wernicke) as the police becomes desperate to find the killer as it’s causing all sorts of problems. Meanwhile, an underworld figure known as the Safecracker (Gustaf Grundgrens) is dealing with business problems due to the investigation of the child killer as he teams up with other crime bosses to start a manhunt of their own. Using beggars to help them out by watching for kids, one of them finds Beckert who is with a young girl as his whistle was identified by a blind beggar.

After stamping the letter M on Beckert’s coat, Beckert realizes he’s being targeted as beggars chase him into a large office building. The Safecracker brings many of his men to the building with the beggars in order to find Beckert as they get rid of a few watchmen in the building. Despite some trouble and one of the watchmen triggering the alarm, most of the Safecracker’s men were able to get Beckert with the exception of Franz (Friedrich Gnass) who gets caught. After some interrogation that doesn’t go well, Inspector Lohmann finally questions Franz who reluctantly reveals why he was there. Beckert meanwhile, faces a crowd of people who want to decide his fate over his actions.

The film is essentially the story of a child-killer who is being hunted by two forces that want him dead. The first are the police who essentially want to bring the killer to face the court for their own reasons despite the way they controlled the city. Then there’s the criminal underworld who are losing everything around them all because of this killer as they want to capture him so they and the people can get their own idea of justice. All of this is centered in this man who kills children and does it in a mysterious way as both the police and this criminal underworld all want to find him and have him face death for his actions. Yet, questions still occur over was it the right thing to do to this man who knows he’s guilty for his actions.

The film’s screenplay is quite complex in the way it approaches its narrative structure. Notably in the way it starts out where children are singing a song as they’re playing where one little girl is walking alone to school is then captured. This would then lead to a first act that largely consists of police raids that has people being questioned while the underworld is trying to figure out what to do. The way the script allows the police and the underworld have their respective meetings show a parallel into their motivations. The second half of the film is largely about Hans Beckert and how he conducts everything only to find himself in big trouble. The film’s third act isn’t just about his capture but also the trial he faces where what he reveals is far more troubling than it realizes as the man who has to defend him realizes that it’s far more complicated.

Fritz Lang’s direction is definitely stylish in terms of the presentation that he creates through the full-frame aspect ratio as well as the world that he creates. Lang’s direction is also filled with unique images such as the way he places a character like Beckert in a window frame or the attention to detail in how the police tries to figure out many clues though intimate shots of objects. Lang’s direction also has unique shots such as scenes from above to establish what is happening to more crowded moments in the bar scenes. Lang also places the camera from a far to capture what is happening in these meetings in order to build up momentum for what is to happen in the film’s second half.

Lang’s direction finally becomes more suspenseful in the film’s second half when it involves Beckert leading some sort of chase and terror that is happening. There’s all these men trying to find him as Lang keeps things energized while establishing what they have to do in order to get him out before the cops get him. It is then followed by a few dramatic sequences that has an air of suspense that includes the climatic public trial scene where Beckert is being judged by the criminal underworld and the people. It is definitely the highlight of the film where it reveals that despite his actions, Beckert should be tried like everyone else. It’s a moment where the real issue is lost over what’s been happening as the ending suggests something far more powerful about the way all of this could’ve been prevented. Overall, Lang creates a very stylized yet entrancing film about injustice and humanity.

Cinematographer Fritz Arno Wagner does amazing work with the black-and-white photography to maintain an air of style in terms of the shadows and shadings created for its interior and nighttime exteriors along with more lush shots of the daytime exterior scenes. Editor Paul Falkenberg does excellent work with the editing to create unique transitions and dissolves to help move the film at a brisk pace including some rhythmic cuts for its suspenseful moments. Production designers Emil Hasler and Karl Vollbrecht do spectacular work with the set pieces from the office building where they corner Beckert to the place where Beckert faces the people in a public trial.

The sound work by Adolf Jensen is superb for the atmosphere it creates from the raucous nature of the bar scenes to the intimacy of the meetings as well as the public court scene. While the film doesn’t feature a traditional film score, it does feature a wonderful use of Edvard Grieg’s In the Hall of the Mountain King that the Beckert character always whistle.

The film’s ensemble cast is marvelous as it features some standout small performances from Friedrich Gnass as the criminal Franz, Theodor Loos as an inspector who works with Lohmann, Inge Landgut as the young girl Elsie Beckmann, and Ellen Widmann as Elsie’s mother. Gustaf Grundgrens is terrific as the crime boss the Safecracker who leads the charge to find Beckert in order too maintain his criminal activity. Otto Wernicke is great as Inspector Lohmann who tries to instill authority into everything he does in the investigation only to do things that have people questioning his methods. Finally, there’s Peter Lorre in a remarkable performance as Hans Beckert who deals with the danger he’s facing as well as the fact that he’s aware of the crimes he’s committing. It’s a very riveting performance from Lorre where he brings a chilling intensity in the courtroom scene that allows him to be sympathetic despite the horrible atrocities he committed.

M is a marvelous yet exhilarating film from Fritz Lang. Featuring a great cast led by Peter Lorre, it’s a film that explores the world of crime as well as the injustice some face for their actions. It’s also a film that features amazing visuals that is truly out of this world as well as a film that features commentary about the way the world works without being heavy-handed. In the end, M is a phenomenal film from Fritz Lang.

© thevoid99 2012

007 James Bond Marathon: Casino Royale (1954 Climax! Episode)

Based on the novel by Ian Fleming, Casino Royale is the story of a spy who must defeat an opposing agent in a game of baccarat. Directed by William H. Brown Jr. and teleplay by Charles Bennett and Anthony Ellis, the story is presented as a TV episode for the one-hour adventure series called Climax Mystery Theater. Playing Fleming’s famed James Bond character is American actor Barry Nelson as he’s joined by Linda Christian, Michael Pate, and Peter Lorre in the role of Le Chiffre. The 1954 TV episode of Casino Royale is an interesting although very flat TV drama.

After surviving an assassination attempt upon his arrival to the Casino Royale hotel, James Bond meets with his British contact Clarence Leiter (Michael Pate). After teaching Leiter how to play baccarat, Leiter gives Bond his mission which is to beat Le Chiffre at the game so he can lose all funds he’s been losing for the Soviet Union. Bond encounters a former flame in Valerie Mathis (Linda Christian) who is with Le Chiffre as she tries to warn Bond to not to go against Le Chiffre at the game. The two duke it out in a game of baccarat as the game gets tense where Bond would eventually encounter more trouble with Le Chiffre and his goons.

The TV episode that is hosted by William Lundigan is about James Bond battling Le Chiffre in a card game where Bond has to get all of Le Chiffre’s money to make him powerless. Yet, the game becomes more than just about money as Bond’s former flame is suddenly involved where he would eventually try to save her. That is pretty much a simple premise told in a very dramatic, noir-like fashion with heightened dialogue and elements of suspense that was prevalent during the 1950s.

Since the medium is very different from film and is presented in a very grainy film stock that is a lot like other early live TV shows of the time. There is something about the episode that is quite intriguing to watch with the camera work and some of the compositions do get engrossing during the card game scenes. The big flaw with the whole presentation of the story is that some of the dramatic elements aren’t very exciting. William H. Brown Jr.’s direction does have some fine moments but the overall result is a fascinating but somewhat dull story. Though there are some great set pieces of the casino hall and a suspenseful yet exhilarating score by Jerry Goldsmith, there’s not much technical aspects in the episode that really stands out.

The casting for the episode doesn’t really have a lot that makes the whole thing memorable as Michael Pate is OK as an early version of Felix Leiter with a different first name in Clarence which doesn’t work. Linda Christian is decent as Valerie Mathis, a characterization of Vesper Lynd, though she’s really more of a damsel-in-distress who doesn’t get much to do. Peter Lorre is the best thing of the entire episode as Le Chiffre where Lorre gets to be very cool and slimy while also being the kind of villain that is willing to take control. Finally, there’s Barry Nelson as James Bond where it is obvious he is very miscast. Bond is supposed to have an air of elegance, a sense of cool, and can also be the kind of guy that can kick some ass. Nelson doesn’t exude any of that as he seems to act very awkward in simple, dramatic moments while over-doing in some of the heavier, dramatic scenes.

The 1954 TV Climax episode of Casino Royale is a mediocre though interesting take on the Ian Fleming novel that would be remade a couple of more times into two very different feature films. For fans of the James Bond series, the TV episode doesn’t serve as an introduction but rather a look into how Bond was developed from a simple TV stock character to the famed film icon that audiences knew and love. In the end, the TV episode of Casino Royale is a watchable but weak story that doesn’t live up to the brilliance of the James Bond series.

James Bond Files: The EON Films: Dr. No - From Russia with Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty’s Secret Service - Diamonds Are Forever - Live & Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - Licence to Kill - GoldenEye - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale (2006 film) - Quantum of Solace - Skyfall - SPECTRE - No Time to Die

Non-EON Films: Casino Royale (1967 film) - Never Say Never Again

Bond Documentaries: Bond Girls Are Forever - True Bond - Everything or Nothing: The Untold Story of 007

© thevoid99 2012

Casablanca

Originally Written and Posted at Epinions.com on 2/19/09

Among considered to be one of the greatest films ever made, Casablanca is always mentioned in the list of great films. The story of an American expatriate who is torn in helping the woman he loves while wanting to free her Resistance leader husband escape Casablanca during World War II. Directed by Michael Curtiz based on the play by Murray Bennett and Joan Alison. Screenplay by Howard Koch, an un-credited Casey Robinson, Julius J. Epstein and Phillip G. Epstein. The film is a romantic drama that has captivated audiences since its release in 1942. Starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Peter Lorre, Conrad Veidt, Sydney Greenstreet, and Claude Rains. Casablanca is an entrancing, entertaining, and romantic masterpiece from Michael Curtiz.

It's the 1940s as Casablanca remains one of the few unoccupied French areas in Morocco. The most popular club is Rick's Café Americain, a club with entertainment and a secret gambling area owned by a cynical American expatriate named Rick Blaine (Humphrey Bogart). In a club full of a mixed clientele of refugees, Vichy French officers, Nazi officials, and other posh regulars. The club features an African-American piano player named Sam (Dooley Wilson), Hungarian waiter Carl (S.Z. Sakall), Russian bartender Sascha (Leonid Kinskey), and croupier Emil (Marcel Dalio). One of the club's regulars is Captain Louis Renault (Claude Rains), who is accompanying Major Strasser (Conrad Veidt) over an incident involving two dead German couriers, is conducting an investigator. Rick is later confronted by Ugarte (Peter Lorre) asking him to keep some letters of transits that he took from the two German couriers. After Ugarte's arrest, two people arrive into the club which is Victor Laszlo (Paul Henreid) and Ilsa Lund (Ingrid Bergman).

Ilsa recognizes Sam as she asks him to play an old song that annoys Rick until he sees Ilsa. The two hadn't seen each other since Paris got occupied by the Germans as it brings Rick some sad memories of their life back in Paris before the occupation and Ilsa's departure. With Laszlo, a Czech Resistance leader sought by the Germans, trying to get out of Casablanca to go to America. Rick isn't sure if he wanted to help Laszlo as Laszlo and Ilsa go to a rival club owner in Ferrari (Sydney Greenstreet) for help but couldn't. With Strasser trying to capture Laszlo by any means with help from Renault, tension between the French and Germans rise during a singing of national anthems at Rick's club. Renault forces the club to be closed as Laszlo turns to Rick for help but Rick remains unsure still dealing with the bitterness of the dissolution over his relationship with Ilsa. Ilsa finally comes to Rick for help as he makes his decision over his own future and everything for Ilsa and Laszlo with some unexpected help.

The film is a bending of genre of sorts with all sorts of genres crammed into one. There's adventure, romance, drama, suspense, and some humor all rolled into one. Yet, it's a remarkable film that swoons in its bending of genres as its done with such style and rhythmic dialogue from screenwriters Howard Koch and the Epstein brothers. The screenplay is filled with wonderful set-ups, twists, turns, and back stories about the Rick-Ilsa relationship in Paris to how they broke apart and why leaving Rick very bitter. Yet, the film is about what Rick would do for the woman he loves and what would happen afterwards. The film also delves into his own background working for resistence causes for other wars in previous years as he now claims he fights only for himself. His motivation to fight for himself and then be helpful for a cause is Ilsa as she reveals why she left and her own conflicts for her feelings for both Rick and Laszlo.

The script is truly brilliant in its plotting, set-ups, motivations, and development as it's all well told in the direction of Michael Curtiz. Curtiz's direction is very stylish in playing to the script's structure where the first act is largely told in Rick's club leaving the other two acts to wander in various locations and setting along with Rick's club. It's also because that since the story was based on a play, Curtiz sets it up as if it's a play in all of its intimacy and staging. With shots to emphasize the drama and tension with close-ups providing a soft look, Curtiz's direction is truly amazing in its look, tension, and compositions. Overall, Curtiz creates a film that is truly spectacular in its drama and staging.

Cinematographer Arthur Edeson does superb work with the film's black-and-white photography with dark shades of black and grey to convey the bitter mood of Rick along with more lighter colors to reflect his happiness. Even in some scenes at the club where everything is fun as Edeson's photography is exquisite. Particularly in its shading and set-ups to create moods for some of the film's dramatic moments along with its final scene with soft touches for the film's romantic portions. Editor Owen Marks does a fantastic job with the film's editing in the use of dissolves and wipe-transitions to give the film a nice rhythm as well as emphasizing its structure. Marks' editing is wonderful in playing up the drama and intensity of the romance between Rick and Ilsa.

Art director Carl Jules Wyle and set decorator George James Hopkins does an excellent job in recreating the look of the Casablanca shops and bars in its exteriors along with a wonderful look in Rick's club. Notably the atmosphere as it's a hotbed of different cultures and people where things could go right or wrong as the art direction is truly worth noting. The costume designs Orry-Kelly on the gowns that the women wear, notably the white gown that Ilsa wears on her arrival to Rick's club is gorgeous. With Anthony Gasbarri on the tuxedos that Humphrey Bogart wears, the close have a classy, sophisticated look that is truly divine. The sound work of Francis J. Scheid and recordist Edward Ullman are excellent for the atmosphere of the club in all of its grandeur and chaos. It's also great for its suspense, notably the last scene of the film that's a wide mix of emotions and tension.

The music score by Max Steiner is phenomenal in all of its arrangements and styles. From its suspenseful, intense pieces to more light-hearted scores for some of the film's non-dramatic, non-suspenseful scenes. Steiner brings versatility to the music while creating sweeping, somber arrangements for the film's romantic portions. Steiner also brings unique touches to the French national anthem with its triumphant arrangements and pieces. The soundtrack includes standards that plays up to the club scenes with one notable song is As Time Goes By that serves as romantic piece for Ilsa and Rick to hear.

The casting is phenomenal with its array of small performances and standout characters that are memorable throughout the film. Notable small roles from Ludwig Stossel and Ilka Grunig as the Leuchtag, a German couple who are friends of Carl, Gregory Gaye as a German banker refused to enter the casino, Helmut Dantine as a young Bulgarian casino player, Curt Bois as a pickpocket, Madeleine LeBeau as Rick's discarded girlfriend Yvonne, and John Qualen as Laszlo's Norwegian contact. Other memorable small roles include Marcel Dalio as the croupier Emil, S.Z. Sakall as waiter Carl, Leonid Kinskey as bartender Sascha, Joy Page as a young Bulgarian refugee who breaks Rick's cynical persona, and Dooley Wilson as Rick's longtime friend and piano player Sam.

Conrad Veidt is excellent as Major Strasser, a Nazi official who is trying to nab Laszlo for his government while hoping to get more support from Captain Renault. Peter Lorre is great as Ugarte, a slimy thief who tries to get Rick to hide some transit papers as he makes a memorable appearance. Sydney Greenstreet is very good as Ferrari, a club owner who is a friendly rival of Rick's who tries to help out Laszlo and Ilsa while making some deals with Rick. The film's best supporting performance is easily Claude Rains as Captain Renault. A shady police captain who is corruptive but only willing to play on a side that he feels will win as Renault brings a complexity and charm to his character who is an anti-hero that doesn't play by the rules. Renault's performance is truly the standout character of the film.

Paul Henreid is superb as Laszlo, a Czech resistence leader trying to go to America as he reveals what he knows about Rick and Ilsa. Henreid doesn't play the kind of guy who wants to go into conflict with Humphrey Bogart but rather as someone who needs Bogart's help. He's also the guy you kind of don't want to root for but want to help his cause which represents a great duality to his role. Ingrid Bergman is amazing as Ilsa Lund, Rick's former lover who is in conflict over her loyalty for Laszlo as well as her love for Rick. Bergman's radiant beauty and fierce performance is truly spellbinding to watch in all of her torment and desperation as Bergman truly captivates in her performance. Finally, there's Humphrey Bogart in a phenomenal performance as Rick Blaine, the cynical club owner not wanting to be involved in anything. Blaine is a great anti-hero who is in it for himself and not wanting to help anyone until he faces Ilsa. Bogart shows great depth into his own emotional torment without dabbling into any kind of theatrics as it's a great performance from the legendary actor.

Released in New York City in November of 1942 around the time the city of Casablanca had been captured by the Allies. The film went into wide release in January 1943 to great acclaim as a year later, it won three Oscars for Best Picture, Best Director, and Best Adapted Screenplay. Though its box office reception was modest, the film since its release has remained influential and powerful. The film has been considered a classic in American cinema as it places itself in the top 5 greatest films of all-time by the American Film Association along with several other lists where it would top some. The film has been released in several formats in VHS and DVD where it recently got a recent Blu-ray DVD release in late 2008 to great acclaim for its high-definition transfer.

More than 65 years since its release, Casablanca is a timeless classic that still holds up with today's films. Thanks to Michael Curtiz's stylish direction, a fantastic script filled with memorable one liners, great technical work, and a superb cast led by Humphrey Bogart, Ingrid Bergman, Paul Henreid, and Claude Rains. It's a film that is romantic, suspenseful, and thoroughly entertaining. Audiences who haven't seen this film should see this as it lives up to its hype and acclaim while audiences who have seen this film should get a chance to see it again. It's a film that truly lives up to its brilliance. In the end, Casablanca is a brilliant film that ages gracefully since its 1942 release.

(C) thevoid99 2010