Archive for January 30th, 2008

Watching the Detectives: Ricardo Cortez is Sam Spade in The Maltese Falcon

Watching this 1931 version of the classic tale was like watching a movie reflected in a funhouse mirror, everything’s there it’s just a little distorted. Ricardo Cortez is an oilier, smarmier Spade, much less likable than Bogie’s take on the role, Otto Matieson is a taller, yet less threatening Dr. Cairo than Peter Lorre, Dudley Digges is a less rotund Casper Gutman than Sydney Greenstreet…the list goes on.

With one exception the cast in the later, more famous version, were superior, that exception being Dwight Frye. If you wanted barking mad then Dwight was the man to call in 1931, appearing as Renfield in Dracula and Fritz in Frankenstein, in The Maltese Falcon though he’s a much more subtle loony, playing Gutman’s pet killer, Wilmer. He doesn’t get a lot of dialogue and has to do most of his acting with his eyes, but he gives the impression he could explode at any moment.

While it’s always going to take second place to John Huston’s version this was still very entertaining, more so for being pre-Hays Code and therefore a little racier than you might expect.

One of the rare occasions where the original isn’t the best.

Literally Speaking: The Four Feathers (2002)

Given the tragic death of Heath Ledger last week this film sort of picked itself out of the pile of DVDs I‘ve got lined up for this series. I can’t say I’m a huge fan of Ledger’s work, of the seventeen films he made (eighteen with The Dark Knight) I’ve only seen eight and, while he was certainly a good actor, he was often overshadowed by his co-stars – Mel Gibson in The Patriot, Billy Bob Thornton in Monster’s Ball and Paul Bettany in A Knight’s Tale – but I’ve yet to see his most acclaimed performance in Brokeback Mountain.

A.E.W. Mason’s novel has been filmed no less than seven times but I’d only seen the classic 1939 version with Ralph Richardson and John Clements prior to watching this. Given that the film has an Indian director in Shekhar Kapur it would be fair to expect a slightly different take on this tale of love and daring-do in the days of the British Empire than previous versions, and, in that regard, the film doesn’t disappoint.

While it shares the central love triangle with previous takes, this isn’t a film about heroics but rather the horrors of war, with the British no better than The Mahdi and his followers, and certainly more arrogant. Rather than being about Harry Faversham’s quest to regain his honour after his friends brand him a coward, the film uses that as a devise to show the suffering war brings and how it brings out the worst in men.