Posts Tagged ‘ Dashiell Hammett ’

Honor in a Dark World: John Huston’s ‘The Maltese Falcon’

August 25, 2011
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Honor in a Dark World: John Huston’s ‘The Maltese Falcon’

John Huston’s 1941 film version of Dashiell Hammet’s novel The Maltese Falcon is, in my opinion , the superior work of art (though the novel is no mean accomplishment itself). The plot centers on the search for an extremely valuable statuette of a falcon, made centuries ago on the island of Malta , with people killing others in order to obtain it. The villains are mostly colorful, sophisticated, and  at least superficially upper-class. Indeed, one of the two ways the film, in my opinion, is superior to the novel is that Mary Astor’s portrayal of Brigid O’Shaughnessy  is three-dimensional, whereas in the book she is nothing more than a beautiful temptress. The hero, private eye Sam Spade (Humphrey Bogart, in his breakthrough role) , is capable, tough, and edgy. I have used the word hero, but he is at best a tarnished one. Though he seems tired, and even sickened, of it by the time the film begins, Spade has been cuckolding his partner, Miles Archer (Jerome Cowan). Regarding Archer’s murder, Spade says, “When a man’s partner is killed, he’s supposed to do something about it.… When one of your organization gets killed, it’s … it’s bad for business to

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Raymond Chandler and British Detective Fiction (Part 2)

August 11, 2011
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Raymond Chandler and British Detective Fiction (Part 2)

Clearly the sophisticated and genteel milieus found in the detective novels of Dorothy Sayers, Ngaio Marsh, and Margery Allingham could not have been much better designed by deliberate intent to grate on Chandler’s class-sensitive nerves. The testy hardboiled author felt much differently, however, about the plainer mystery fare offered by Freeman Wills Crofts and, especially, R. Austin Freeman. Even in “Simple Art” Chandler praised Crofts, best known for his methodical tales of patient criminal investigation and determined alibi busting, as “the soundest builder of them all when he doesn’t get too fancy”; and in his correspondence Chandler admitted that he knew Crofts’ work (and Freeman’s) “very well.”

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The Best Damn Private Eye on Television

December 14, 2010
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The Best Damn Private Eye on Television

By Kevin Burton Smith No, CBS’ The Good Wife is not a private-eye show. One of the 2009-10 television season’s most acclaimed new dramas, it’s really more of a legal thriller, closer in format to, say, LA Law. Created by husband-and-wife-team Michelle and Robert King, The Good Wife stars Julianna Margulies (formerly of ER) as Alicia Florric, the feisty, principled wife of Peter, a prominent state’s attorney (Chris Noth), and the mother of two, who stands by her man when he’s arrested and sent to the slammer amidst charges of corruption and a sex scandal. Humiliated, middle-aged, and the focus of unwanted media scrutiny, Alicia has the steely resolve to take the high road as she throws herself back into the workforce as a single mom/junior defense attorney at a high-priced Chicago law firm; her determination is almost inspiring. And it’s that dramatic and unexpected moral underpinning that helps raise this show high above most TV legal potboilers. The real charm of the show, though, lies in its twisty, turny tumble of hidden agendas, lies, and conspiracies. Just when you have a character, a plot, a motive pinned down, the writers yank the rug out. Everyone, it seems, has something

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Fiction Friday’s focus on Robert B. Parker

January 22, 2010
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Fiction Friday’s focus on Robert B. Parker

On Monday, Janaury 18, 2010 Robert B. Parker joined Raymond Chandler, Ross Macdonald, Dashiell Hammett and Mickey Spillane in that great heavenly mystery writer’s group. A massive heart attack struck Robert Parker down while seated at his desk working on his latest novel. This week’s issue of The Culture Alliance’s Fiction Friday newsletter focused on Mr. Parker’s work. Tom Nolan, editor of Ross Macdonald’s The Archer Files: The Complete Short Stories of Lew Archer, Private Investigator, notes that Parker “revivified the P.I. genre” building upon aspects of the genre’s greats: he bantering dialogue of Raymond Chandler, the concern for young people expressed by Ross Macdonald, the swift action of Dashiell Hammett, even the violence of Mickey Spillane. Nolan continues: He wrote dialogue that at once informed, amused and gave a sense of character; and he conjured characters a reader wanted to spend more time with—especially Spenser, a fixed point in a footloose world, take him or leave him. A pragmatist whose ethics were situational. A tough and decent type who did what needed to be done in the service of a moral cause, affirming the worth of the individual regardless of race, sexual orientation, social status, age or occupation. He

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