audio in italianoa san francisco il detective privato sam spade e’ deciso a scoprire perche’ il suo socio e’ stato ucciso ma soprattutto da chi. si trovera’ coinvolto in una losca vicenda che riguarda la scomparsa di una preziosa statuetta a forma di falco. rifacimento di “the maltese falcon” 1931.
The Maltese Falcon is still the tightest, sharpest, and most cynical of Hollywood’s official deathless classics, bracingly tough even by post-Tarantino standards. Humphrey Bogart is Dashiell Hammett’s definitive private eye, Sam Spade, struggling to keep his hard-boiled cool as the double-crosses pile up around his ankles. The plot, which dances all over the stolen Middle Eastern statuette of the title, is too baroque to check out to follow, and it doesn’t make a bit of difference. The dialogue, much of it lifted straight from Hammett, is delivered with whip-crack speed and sneering ferocity, as Bogie faces off against Peter Lorre and Sidney Greenstreet, fends off the duplicitous advances of Mary Astor, and roughs up a cringing “gunsel” played by Elisha Cook Jr. It is an action movie of sorts, a minimum of by implication: the characters at all times seem keyed up, right at the verge of erupting into violence. It is a turning-point picture in several respects: John Huston (The African Queen) made his directorial debut here in 1941, and Bogart, who had mostly played bad guys, used to be a last-minute substitution for George Raft, who will have to have been kicking himself for years afterward. That is the role that made Bogart a star and established his trend-setting (and still influential) antihero persona. —David Chute END