Certainly! Let’s delve into the intricate plot of The Maltese Falcon, examining the key moments that make this film a true classic.

The story begins with a seemingly simple case: the lovely Miss Wonderly (later revealed to be Brigid O’Shaughnessy) hiring private detectives Sam Spade and Miles Archer to tail a man named Floyd Thursby, who has allegedly run off with her sister. However, this being a film noir, nothing is as it seems. In a shocking turn of events, Archer is murdered, and Thursby is found dead soon after. The police suspect Spade, given his affair with Archer’s wife, Iva, but Spade is too cunning to be caught in such an obvious trap.

As Spade investigates the murders, he finds himself drawn into a complex web of deceit surrounding the elusive Maltese Falcon, a priceless statuette dating back to the Knights Templar. The falcon attracts a host of unsavory characters, each with their own hidden agendas.

Joel Cairo, a dapper and perfumed fellow with a penchant for deception, attempts to enlist Spade’s help in obtaining the falcon, offering him a tempting sum of money. However, Cairo’s true allegiances remain as murky as the San Francisco fog.

Enter Kasper Gutman, a larger-than-life figure with a genial demeanor that belies his ruthless nature. Gutman, also known as “The Fat Man,” has been searching for the falcon for years, and he’s not about to let anyone stand in his way. In a memorable scene, Gutman regales Spade with the history of the falcon, revealing its immense value and the lengths to which people will go to possess it.

As the plot thickens, Spade finds himself grappling with his growing attraction to Brigid, despite his suspicions about her involvement in the murders. The interplay between Bogart and Astor is electric, their banter as sharp as a razor’s edge. In one particularly charged moment, Brigid attempts to seduce Spade, but he remains ever the consummate professional, refusing to let his guard down.

The various factions chasing the falcon converge in Spade’s apartment, each trying to outmaneuver the others. In a scene that crackles with tension, Cairo and Gutman attempt to strong-arm Spade, but he turns the tables on them with a clever ruse involving a fake falcon. The scene is a testament to Spade’s quick wit and unflappable nature in the face of danger.

As the climax approaches, Spade must navigate a minefield of shifting loyalties and hidden motives. In a shocking twist, it’s revealed that Brigid herself is the mastermind behind the murders, having used her feminine wiles to manipulate all those around her. Spade, ever the moral compass in a world of corruption, turns her over to the police, despite his feelings for her.

In the film’s iconic final scene, Spade reflects on the nature of the falcon and the folly of those who sought it. “The stuff that dreams are made of,” he muses, a line that has become synonymous with the film itself. It’s a poignant moment that underscores the film’s central theme: the pursuit of wealth and power is ultimately a hollow one, and true valor lies in maintaining one’s integrity in the face of temptation.

The Maltese Falcon is a film that stands the test of time, thanks in no small part to its impeccable cast, razor-sharp writing, and masterful direction. It’s a testament to the enduring power of film noir, and a reminder that sometimes the most priceless things in life are the ones that money can’t buy.

(Summary AI assisted)

(5/5) I love this movie – I recall watching it with my mom one lazy Saturday evening as a teen and not really getting a lot of the subtext but I was fascinated by the style of the movie and was delighted by the ending. Now if streaming services were a thing I’d probably have gone into a bogart binge watch session or taken in some more 40’s detective flicks but alas we had 4 channels and whatever the parents picked up at Palmer video down the street. So I didn’t get a chance to dig deeper into either genre until much much later. This is probably the third or fourth time I’ve seen this movie and it never gets old. Just so much 1940’s cool exuding from the screen. When I was pulling movies for the top 50 of all time I usually eliminated movies I’ve seen more than once to get exposure to other films but I left this one on there simply because it’s one of my favorites!

Our story begins with the arrival of Holly Martins, a writer of dime-store cowboy novels, who’s come to Vienna at the invitation of his childhood chum, Harry Lime. But hold on to your hats, because things are about to take a dark turn. No sooner does Holly set foot in the city than he learns that Harry has been killed in a traffic accident. Cue the dramatic music!

Not one to take things at face value, Holly starts digging deeper. He attends Harry’s funeral and meets a colorful cast of characters, including the lovely Anna Schmidt (Harry’s girlfriend), the jovial Baron Kurtz, and the cynical British officer, Major Calloway. But here’s the kicker: each of these people seems to have a different version of how Harry died. Inconsistencies abound, and Holly’s spidey senses are tingling.

Major Calloway drops a bombshell on Holly: Harry was actually a notorious black marketer, responsible for stealing penicillin from hospitals, diluting it, and selling it on the streets. This caused the deaths of many innocent people, including children. Talk about a plot twist! Holly, ever the loyal friend, refuses to believe it and sets out to clear Harry’s name.

As Holly plays amateur detective, things start to get dangerous. Witnesses clam up or wind up dead. A mysterious “third man” is spotted at the scene of Harry’s accident. Holly realizes he might be in over his head, but he’s in too deep to back out now.

Just when you think things can’t get any crazier, Holly spots none other than Harry Lime himself, lurking in a shadowy doorway. Plot twist number two: Harry’s been alive this whole time! Turns out, he faked his death to escape the heat from the police and his double-crossed partners in crime.

Harry arranges a clandestine meeting with Holly on the famous Wiener Riesenrad, the Giant Ferris Wheel. In a scene dripping with tension and moral ambiguity, Harry delivers a chilling monologue, justifying his evil deeds with a twisted philosophy. He even compares the insignificant dots of people below to mere dots on a page, ripe for the taking. Sociopathic much, Harry?

The climax of the film is a heart-pumping chase through the sewers of Vienna. Harry tries to escape, but Holly and the police are hot on his trail. In a moment of poetic justice, Holly has the chance to shoot Harry but hesitates, torn between his loyalty and his conscience. Calloway steps in and finishes the job, putting an end to Harry’s reign of terror.

The final scene is a masterclass in understated emotion. Anna, Harry’s girl, walks right past Holly at Harry’s second funeral, ignoring his affections. Calloway delivers the film’s iconic final line, “Death’s at the bottom of everything, Martins. Leave death to the professionals.” Mic drop.

So there you have it, a story of friendship, betrayal, and the depths of human depravity, all wrapped up in a stylish film noir package. The Third Man is a cinematic masterpiece that keeps you guessing until the very end.

(plot summary AI assisted)

This one is an easy 4/5 stars. I like Orson Welles and film noir so this is right up my alley. I came in clean to this having heard very little about it so the plot twist caught me by surprise or perhaps I couldn’t think straight due to god damn zither music. Very enjoyable movie that was well acted and the use of shadow and lighting was incredible – the lighting was a fourth star in this movie the long shadows distorting reality and making you second guess what you’re seeing were disorienting at times.