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The Maltese Falcon (1931)

Passed | | Crime, Drama, Film-Noir | 13 June 1931 (USA)
A lovely dame with dangerous lies employs the services of a private detective, who is quickly caught up in the mystery and intrigue of a statuette known as the Maltese Falcon.

Director:

Roy Del Ruth

Writers:

Dashiell Hammett (based on the novel by), Maude Fulton (screen play & dialogue) | 1 more credit »
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Cast

Complete credited cast:
Bebe Daniels ... Ruth Wonderly
Ricardo Cortez ... Sam Spade
Dudley Digges ... Casper Gutman
Una Merkel ... Effie Perine
Robert Elliott ... Detective Lt. Dundy
Thelma Todd ... Iva Archer
Otto Matieson ... Dr. Joel Cairo
Walter Long ... Miles Archer
Dwight Frye ... Wilmer Cook
J. Farrell MacDonald ... Det. Sgt. Tom Polhouse
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Storyline

Sam Spade is quite the womanizer. When his secretary tells him the new customer 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. 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, the fey Joel Cairo, and the thuggish young Wilmer Cook. Three crooks, and all of them are looking for the statuette of a black bird they call the Maltese Falcon. Written by J. Spurlin

Plot Summary | Add Synopsis

Taglines:

She lured men to their death with her beauty until she was caught in her own trap by the man she loved and the man she couldn't get! (Print Ad- Wisconsin News, ((Milwaukee Wisc.)) 28 May 1931) See more »


Certificate:

Passed | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English | Chinese

Release Date:

13 June 1931 (USA) See more »

Also Known As:

Dangerous Female See more »

Company Credits

Production Co:

Warner Bros. See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

Sam Spade has a picture of actress Louise Brooks hanging above the phone in his living room. See more »

Goofs

The same prop is used for the suitcase that Spade finds in Miss Wonderly's room and the suitcase which contains the falcon. The travel stickers are identical on each one. See more »

Quotes

Ruth Wonderly: I know I haven't any right to ask you to help me blindly. But I do ask it. Oh, be generous, Mr. Spade.
Sam Spade: You won't need much of anybody's help. You're pretty good. As a matter of fact, you're very good. It's chiefly your eyes, I think, and the throb you get in your voice when you say, "Oh, be generous, Mr. Spade."
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Connections

Referenced in Footsteps in the Dark (1941) See more »

Soundtracks

For You
(uncredited)
Written by Joseph A. Burke and Al Dubin
See more »

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User Reviews

 
Hollywood's first – and far from negligible – crack at The Maltese Falcon
14 December 2002 | by bmacvSee all my reviews

Over the years, the version of The Maltese Falcon released in 1941 has accrued an enviable reputation: As an opening salvo in the film noir cycle, as Humphrey Bogart's first big starring vehicle and John Huston's directorial debut, and as a favorite example of the pleasures to be found in `old' black-and-white movies. But it was the third crack that Warner Brothers took at Dashiell Hammett's breakthrough novel. Probably best forgotten is the 1936 Satan Met A Lady, where a bejewelled ram's horn subbed for the black bird; even Bette Davis couldn't salvage the movie. But this first filming (later retitled Dangerous Female), made the year after the novel's release – in the technical infancy of the sound era – retains enough punch and flavor to give the formidable forties version a run for its money.

Starring as Sam Spade and Miss Wonderly (who never becomes Brigid O'Shaughnessey) are Ricardo Cortez and Bebe Daniels, the talkies' first immortal guy/gal team. And joining them is the familiar ensemble of grotesques: As `Dr.' Joel Cairo, Otto Mathiessen; as Casper Gutman, Dudley Digges (who, lacking Sidney Greenstreet's girth, is never called The Fat Man); and as Wilmer the gunsel, gimlet-eyed Dwight Frye, familiar from the Dracula and Frankenstein franchises. And while Huston's cast in each instance has the edge, it's not by much – these pioneering hams have a field day.

Huston trusted Hammett enough to preserve more of his astringent dialogue intact, but Dangerous Woman shows surprising fidelity to the book. The subplot about Spade's affair with his slain partner's wife Iva Archer stays prominent, and the merry widow is played by Thelma Todd (herself later to fall victim in one of Hollywood's most notorious unsolved murders). Owing to less prudish times, before the Hayes Office tried to make sex un-American, the scene is kept where Spade, in his quest for a palmed $1000 bill, makes Wonderly strip naked (though left largely off-screen). And in calling Wilmer Gutman's `boyfriend,' Spade makes a mite more explicit their old-queen/rough-trade dynamic.

Roy del Ruth, who directed, was an old newspaper man who came to Hollywood in the silent era, racking up a workmanlike list of credits (in 1949, he would return to San Francisco locales for the unusual noir Red Light). He adds some deft touches, as when, after Spade departs with her bankroll, Wonderly blithely extracts a fat wad of bills from her stocking. Much of what he might be credited for, however, may be inadvertent. Since the novel was published and the movie made on that critical cusp between the Roaring Twenties and Old Man Depression, an authentic period tang asserts itself – Daniels' marcelled hair, for instance (not to mention the Vienna-born Cortez' being palmed off as a Latin lover).

The movie deviates from the novel in ending with a scene in the women's house of detention that manages to be simultaneously sassy and poignant. Dangerous Female offers an instructive lesson in how the various versions, with their differing tones and emphases, shed their own light and shadow on a classic American crime novel.


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