Maltese Movie Reviews

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 around the stolen Middle Eastern statuette of the title, is too baroque to try 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's an action movie of sorts, at least by implication: the characters always seem keyed up, right on the verge of erupting into violence. This 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, was a last-minute substitution for George Raft, who must have been kicking himself for years afterward. This is the role that made Bogart a star and established his trendsetting (and still influential) antihero persona. --David Chute
Casablanca
A truly perfect movie, Casablanca (1942) still wows viewers today, and for good reason. Its unique story of a love triangle set against terribly high stakes in the war against a monster is sophisticated instead of outlandish, intriguing instead of garish. Humphrey Bogart plays the allegedly apolitical club owner in unoccupied French territory that is nevertheless crawling with Nazis; Ingrid Bergman is the lover who mysteriously deserted him in Paris; and Paul Heinreid is her heroic, slightly bewildered husband. Claude Rains, Sydney Greenstreet, Peter Lorre, and Conrad Veidt are among what may be the best supporting cast in the history of Hollywood films. This is certainly among the most spirited and ennobling movies ever made. --Tom Keogh
The Big Sleep
Humphrey Bogart and Lauren Bacall made screen history together more than once, but they were never more popular than in this 1946 adaptation of Raymond Chandler's novel, directed by Howard Hawks (To Have and Have Not). Bogart plays private eye Philip Marlowe, who is hired by a wealthy socialite (Bacall) to look into troubles stirred up by her wild, young sister (Martha Vickers). Legendarily complicated (so much so that even Chandler had trouble following the plot), the film is nonetheless hugely entertaining and atmospheric, an electrifying plunge into the exotica of detective fiction. William Faulkner wrote the screenplay. --Tom Keogh
Key Largo
John Huston directed this smart 1948 thriller about a gangster (Edward G. Robinson) who holds a number of people hostage in a hotel in the Florida Keys during a tropical storm. Humphrey Bogart is the returning war veteran who takes on the villains, and Lauren Bacall is on hand as one of the people on the wrong end of Robinson's gun. Somewhat similar in tone to Howard Hawks's To Have and Have Not (which also featured Bogart and Bacall), this moody movie captures a certain despair offset by the bond between individuals united by common purpose. Claire Trevor won an Academy Award for her part as Robinson's alcoholic girlfriend. --Tom Keogh

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Let's talk about the black birdSam Spade becomes involved in the search for the title artifact with the introduction of three characters--Brigid O'Shaughnessy, Joel Cairo, and Kaspar Guttman. All three are involved in one way or another with the title object. The cynical Spade though, shows his loyalties to no one, but the one who pays him the most. He is also quick to strike out at anyone menacing him, such as a pistol-wielding Joel Cairo or Wilmer, a hired gun. His steel heart extends to his relationship with his partner, whose wife Iva he has an affair with, and even that is passionless. Only Ebbie, his loyal secretary with a nice personality who can handle Spade, gets the less hard part of his hard edge.
However, two murders entangled themselves in the web. The first is that of Spade's partner Miles Archer, who charmed by Brigid, offered to shadow a man she wanted followed. The second is Thursby, the object of his hunt. And Spade's caught up also because he is suspected of his partner's murder due to his affair with Iva, and he's got to fend off the police and D.A.'s office.
Certain camera shots get great mention, such as the shadow of the "Spade and Archer" sign cast from the window to the floor. Another is the bright spotlight effect shown on Miles's surprised face as he gets shot. And the way the camera focuses on the Fat Man's belly shows the weight he has, both physically and in terms of power. The lights and shadows enhance the costumes as well. Most of the characters are dressed in black.
This was the film that pushed Bogart to film legend status, making it his biggest success since The Petrified Forest. Ahead of him lay greater roles such as Rick (Casablanca), Phil Marlowe (The Big Sleep), Allnutt (The African Queen), Queeg (The Caine Mutiny), and Linus Larrabee (Sabrina).
Mary Astor (Brigitte) needed this kind of film, especially to counter the 1936 headliner scandal made over her sexual exploits with playwright George Kaufman, made public with the splashing of her diary across newspapers. Sydney Greenstreet as the plummy but dangerous "Fat Man", i.e. Guttman, Peter Lorre as the slightly effeminate Cairo, and Ed Begley Jr. as the neurotic gunsel Wilmer all add to this classic. He speaks in a low but quivering and menacing tone: "Keep on riding me, they'll be picking iron out of your liver."
Cinematically, a classic, and remember that line, "the stuff that dreams are made of."
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