The Maltese Falcon And Film Noir

1507 Words7 Pages
In most detective fiction written before the 1930’s, police officers played subordinate roles – but the World Wars changed that. Transformations in American society contributed to new concerns about crime, rising levels of violence and acute attention to the role of police. The spy hero was made redundant by the collapse of the Soviet Union and thriller writers needed something to fill the void. Rather than detection, the crime narratives focused on moments of moral decision making and were conveyed from the point of view of protagonists who were police detectives or government agents. A broader interest in exploring psychological motivation also found its niche in US film and was visually and narratively distinct from that of the 1930’s. Drawing on the outlaws of America’s Wild West, the private eye was a lone, moral hero on the mean streets of America. The urban new reality of the 1940’s gave rise to the hard-boiled detective and a new symbolic landscape for American crime fiction. Warner Bros. had previously made versions of Dashiell Hammett’s The Maltese Falcon in 1931; however it was remade for the third time in 1941 as part of this new trend in the treatment of crime. Neither of the previous films had attempted to capture the full impact of the novel’s bleak and uncompromising version of urban America or the unheroic aspects of its hero. John Huston directed it straight, and in the process created a new type of detective for a new genre of film. Sam Spade’s spare, unembellished prose was appropriate to his no-nonsense protagonists. Huston’s use of techniques like high contrast lighting (revealing characters in bright, washed out light while casting others in complete shadow); low angle camera set-ups (Gutman; making the character seem more powerful) and deep focus (new technology at the time allowing cameras to retain focus objects and characters in both
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