The Maltese Falcon: Defining the Film Noir Genre’

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“Film Noir”, for many of us, brings to mind specific visual styles, possibly a sepia-toned color palette wrapped around established, grittier than not, themes or visual motifs. Yet an exact definition of this very specific Genre’ can often seem as elusive as the dreams and desires of its characters. Equally difficult to define, is the exact period for the Film Noir era. Its influences span several decades and countries. However, The Maltese Falcon, first released in 1941, is widely regarded as the ’Godfather’ (pun intended) of major Film Noir in what some consider its classic era.

Regardless of whether you can specifically trace the emergence of Film Noir as its own distinct style to The Maltese Falcon, you may likely agree that it is prototypical for the entire Genre’. It provides an excellent introduction to its world with expressionistic lighting, cynical characters, base motivations, and questionable moral codes: much like the world that existed for many in 1941 … and possibly remains relevant, today. Humphrey Bogart is the perfect embodiment of Private Eye, Sam Spade. However, it’s not the Private Eye that defines Film Noir. Instead, Film Noir may be better defined by the story about a Main Character unwittingly, if not involuntarily, caught in the midst of two worlds that could be defined as Good and Evil. The story arch, however, doesn’t permit the audience to draw black and white distinctions between right and wrong; or, good or evil. Following good, in the story, may result in an immorality. Like its color palette, Film Noir forces the audience to recognize there are shades of grey (no pun intended) that permeate real life. For Sam Spade, in The Maltese Falcon, legal is presented as, shall we say, less than legal. Sam Spade, as a Private Eye very naturally moves the plot forward as he must live and work with both ‘Cops’ and ‘Criminals’. The Sam Spade convention employed by The Maltese Falcon is probably why many people associate Private Eye storylines with Film Noir; despite that the majority of Film Noir Screenplays simply don’t feature a Detective Character. Mary Astor, as Brigid O’Shaughnessy, portrays a prototypical femme fatale, an ever-duplicitous antagonist seemingly effortlessly using her attractiveness, sexuality, and feigned emotions to serve her unbridled self-interest. You may ask yourself where Dashiell Hammett, a Hollywood Novelist upon whose book the film is based and Hollywood Writer-Director John Huston, who wrote the Screenplay – Two men steeped in 1940s Hollywood – would come up with a Character such as Brigid O’Shaughnessy … or possibly not.

The subject of The Maltese Falcon; its characters and storyline, has been the subject of dozens of reviews relating to the Film Noir style and Hammett’s Novel in general. One thing that may stand out today, is the portrayal of women – not simply femme fatale, Brigid O’Shaughnessy; but all the female characters. It’s as if we’re watching the Grandmothers for what will become Reality TV, albeit an admittedly unfair and overly-broadly-brushstroked observation of the TV Genre’ (… just saying).

Let’s take a look at The Maltese Falcon’s Three prominently featured female characters. Brigid O’Shaughnessy is motivated exclusively by self-interest; which makes her dangerous. She’s not above resorting to murder, as expediency for what she wants. Arguably, Brigid is the mold for all future femme fatale. Iva Archer is no saint, either. She is a cheating wife and needy widow whom Sam wants to avoid, even though (possibly especially because) they have a romantic history. The only female character in the film seemingly not corrupt in some way is Sam’s Office Assistant, Effie Perine. The audience will either see Effie as the perfect, reliable partner (read “wife material” of the1940s – because bad, over-sexed, non-virgin Girls don’t find husbands; and, in 1940s era movies, married couples sleep in separate beds) stripped of any real sexuality. As if to place an exclamation point behind it, Effie is rendered innocuous for the audience, with Sam’s famous line – “You’re a good man, sister”. Some may argue Effie is actually a Sister/Mother figure. Lacking any Psychiatric credentials, however, I’ll leave Effie’s analysis (pun intended) at this juncture.

The role of women may have been more impactful during my most recent viewing of The Maltese Falcon because of the drastic difference between its female characters and those found in Kingsman: The Secret Service, for which I wrote a recent Movie Review Article. Today’s female characters are portrayed, as well they should be, as strong and working side-by-side the male characters. The Maltese Falcon, while a splendid achievement from Hollywood’s Golden Age, unfortunately also represents an interesting period truth about the role of women according to 1940s society. Fortunately, there has been – and hopefully will continue to be – a development of society’s view for female characters. Wouldn’t it be interesting if Characters were Gender interchangeable for purposes of storyline; you know, like the Starbuck Character in the 2004 iteration of TV’s Battlestar Galactica?

Revisit The Maltese Falcon and let me know if you agree. You may find the movie well worth it.

from Jeff Fishman’s Introduction to the Entertainment Industry http://ift.tt/1vwuCvV
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The Marx Brothers

Comedy is notorious for not translating well from decade to decade or generation to generation. Often times, comedy that was considered racy when it was released and may have encountered issues getting passed censors or the 20th Century’s Hays Code, are considered much less daunting today. Some Like It Hot, for example, which encountered Hays Code issues when first released in 1959, seems mild by today’s standards. The lines Some Like It Hot crossed have since been surpassed, as sensibilities and tastes have changed over the decades. Some Like It Hot now seems quite tame. While older comedies may still be amusing, they somehow just cease to be hilarious. A notable exception, however, may be the Marx Brothers.

The Marx Brothers films now are as relevant today as they were in the early 1930’s because the object of their humor persists in society, even today. That is, the economic and social divide between High Society and, well … the rest of us. As a result, the Marx Brother’s jokes don’t seem so dated even when you watch them, today. I bet that audiences today will have trouble catching every one of Groucho’s quick humorous quips the first time through. I still catch new funny lines each time I watch Duck Soup.

The high caliber, extremely witty jokes are augmented by, and somewhat contrasted with, the unhinged, slapstick antics of Harpo; as well as, the constant verbal confusion offered by Chico’s surprisingly sly and incessant Street-Wise opportunism.

Groucho Marx is possibly the most influential comedian ever; or, at least the most influential comedian of the last two centuries. Just about every major comedian, since, has named Groucho as a significant influence, and though many have tried to match his genius at wit, timing and double entrendre’; few – if any -actually have.  Most merely wish they could capture Groucho’s quick-witted asides.

The first five Marx Brothers’ films were made for Paramount and are regarded as their classic best; most likely because they were able to sneak more off-color jokes and sexual innuendos past the censors before the 1934 Production Code really kicked-in. Their later films, however, are still notable. First, fans of comedy will still have the pleasure of watching these great comedy minds, even if tamed by censorship to a slightly less raucous level. And second, films like Room Service and Love Happy offer some of the earliest on-screen performances by two young starlets who would rise to the HIGHEST levels of Hollywood Fame and stardom just a few years later – Lucille Ball and Marilyn Monroe, respectively. So don’t think for a second the Marx Brothers didn’t appreciate Talent. They were, in many ways, very forward thinkers intent on stretching the bounds of “acceptable” comedy – another innovation still embraced by today’s comics.

In short, the Marx Brothers films can be enjoyed for everything they still are … not merely by comedy buffs, but by anyone who appreciates quick wit, well-timed repartee, sophomoric jokes, and funny movies in general. Unless, of course you’re a cyber-attacking dictator without any sense of humor like … you get the idea.

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Kingsman: The Secret Service

I was fortunate enough to be invited to the very first pre-premiere screening of ‘Kingsman: The Secret Service’ in Los Angeles, only a few days ago. This Movie is a delight, and I highly suggest that you see it once it is released in your area. ‘Kingsman’ hits theaters in February, and you will likely thank me for recommending this Action ride in the vein of a very updated and relevant ‘Batman Begins’ meets ‘James Bond’ meets ‘Iron Man’.

Updated, too, is Director Matthew Vaughn’s modern storytelling that portrays a more Prince William and Princess Kate British Aristocracy, focusing upon the actual worth of one’s deeds and not merely your family’s high social status or amassed wealth. (No disrespect to her Majesty, by the way. I remain a fan of the Queen of England. If you do some research into her life, you’ll find that she’s been a Royal Action Heroine since the 1930s, at least.)

Writer Jane Goldman is able to tell her story about the Movie’s hero, Eggsy, who must learn to stand up and take responsibility instead of simply lashing out in violence because it’s easier or a more rapid solution, without boring her audience. Instead of being a cliché, Goldman’s story sends the perfect message that one is able to stand up for themself when they learn to stand up for a good cause, their friends and their family. (Something France and the world are experiencing, right now, in the wake of indefensible Terrorist violence.) Goldman gets this message across while never interfering with the essence of her Action storytelling.

Without slowing the pace or interrupting Mark Millar, Dave Gibbons and Goldman’s good story, Vaughn is able to tackle some truly troubling present-day issues like domestic violence and discerning real ‘Save the Planet’, from ‘Save the Planet for Profit’ hucksters.

While the movie is sexy … without being salacious … there is NO sexism. Women beat the snot out of men and work side-by-side them without having to expose body parts as an indication of their worth. I’m recommending the Movie to my Nieces. Yeah, it’s that good and my nieces are that strong.

But there is no want for ACTION. The 129 minutes of movie flies by and feels like 90, as Vaughn presents a very positive role model for both men and women. Make no mistake: this is an Action Movie! But unlike some action Movies that inspire audiences to leave the theater picking fights when they emulate the movie’s characters, I actually experienced noticeably courteous and gentlemanly behavior from the exiting ‘Kingsman’ audience. I have to admit being a little taken aback by it; but in a very uplifting way.

Finally, don’t walk out on the credits. Imbedded within the Final Credits are additional scenes that add to, rather than merely prolong, the ending.

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Double Indemnity

Double Indemnity from 1944, directed by the incomparable Billy Wilder, is one of the great cinematic experiences not just for fans of classic films, but for fans of good movies in general. Made in the midst of the film noir era, Double Indemnity surpasses most of these movies and matches the best of them. It contains both the best of Hollywood glamour with stars like Edward G. Robinson, Barbara Stanwyck, and Fred MacMurray, and the gritty subject matter which fans of film noir appreciate.

The film opens with a car driving recklessly down the streets of Hollywood. The driver is Walter Neff, played by Fred MacMurray, and after barely avoiding a collision at an intersection, he pulls up in front of the insurance office where he works looking somewhat delirious. Inside the office, into the tape recorder of his friend and colleague Barton Keyes (Edward G. Robinson), he describes the course of his ruin at the hands of Phyllis Dietrichson, played by Barbara Stanwyck who memorably embodies a paradigmatic femme fatale in all of her duplicitous and manipulative glory.

Even the seemingly very simple opening to the story shows Billy Wilder’s mastery. Often times, narration in films seems a bit out of place and hoaky, coming off as lazy filmmaking that is unable live up to the task of telling a story visually. Here, though, the narration is Walter’s confession, and therefore justified from the very beginning of the story.

As always, I do not want to give away the story here, but rather highlight certain elements of this film. Of note are two scenes in particular that showcase Phyllis manipulating Walter. The first is when Phyllis arrives at his apartment, when he already suspects that she wants to kill her husband, under the pretense that he forgot his hat that afternoon at her house. If you watch this scene closely you will notice something strange – she has brought no hat with her. If you have been watching really closely you will have noticed that Walter, in fact, did pick up his hat on the way out of her house earlier. This is the scene in which they decide that they will have her husband unwittingly sign up for accident insurance, kill him, and collect the insurance money. Impressively, Phyllis uses her skills of manipulation to actually get Walter to suggest the plan by telling him sob stories about her difficult life with her husband.

Another scene I want to mention is later on, after the murder. Walter now realizes he may have been manipulated by Phyllis, and is somewhat remorseful after seeing Mr. Dietrichson’s daughter, Lola. Both he and Phyllis are also in danger of being found out by Keyes. Walter tells Phyllis of their precarious situation and expresses his feelings of guilt. Phyllis responds regarding Lola, “…she’s been putting on an act for you, crying all over your shoulder…she’s made you feel like a heel all of a sudden.” This is noteworthy because in reality, this is exactly what Phyllis did to him.

Double Indemnity is too nuanced, has too many terrific flares, and is, in short, too excellent to cover in its entirety in a single post. If you want to fully appreciate this great film, my best suggestion would be, well, to see the movie!

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