Versions of The Maltese Falcon

The book begins more calmly and allows its ace of mystery to build. The book and the movie have basically the same beginning in terms of action and dialogue--Sam cut into is seated in his office when his secretary, Effie, enters and tells him a girl hold to see him. Spade asks if she is a customer, and Effie says: "I guess so. You'll essential to see her anyway: she's a knockout" (Hammett 1). The same line appears in the demand, as does Spade's "Shoo her in" (Hammett 1). Hammett, of course, has to describe his characters, fleck Huston merely shows them. However, Hammett also is able to convey much just some inner character and modes of thinking in the way he describes his characters, while Huston has to accomplish the same thing through the many a(prenominal) elements he can include in the frame, from the mode of train to the design of the office, from the way the actors relate to one another physically in a flick to the expressions they use as they verbalise and look at one another. Hammett describes Sam Spade startle, satisfactory since Spade is the central character and since he is always have in every aspect there later on. He is described as looking "pleasantly like a blond daemon" (Hammett 1), a characterization that does not apply physically to Humphrey Bogart entirely that Bogart plays to the hilt just the same, combining the strong qualities of Spade with a sense of darkness beneath, as if veering between hero and ogre throughout the film. Right from th

The film scene ends with the same bit of dialogue as the affect version. in the book, this is where Spade starts to make a cigarette, while Huston has go that action to the beginning of the film scene. Huston frames the scene in a way that Hammett does not, and this frame has an ironic component. The scene opens with a close-up of the names "Spade and bowman" in the window and ends with the shadow of these actor's line on the office floor, ironic in that the partnership is to be dissolved in the next scene when Archer is killed. The goal of Archer is the one scene in the film that does not appear at all in the book.

Hammett moves directly from the scene in the office to Spade waking up when the shout rings, but Huston intersperses the scene at the corner of Bush and Stockton when Archer stands dexterous just before he is shot and rolls deplete the hill. This is also the only scene that does not take outer space with Spade present. By including the scene, Huston prepares the viewer for many of Spade's later deductions about why Archer has his coat buttoned and seems to have been unbidden to go into the alley with his killer. The scene also emphasizes the ironies of the previous scene and generates the energy carrying through into the sext several sequences.

e beginning, he is an forked character as the camera slides down from reading the garner reversed in his window--"Spade and Archer"--to find him gyre cigarettes when Effie comes into the office. The angle Huston chooses as the camera looks up at Effie and the expectant, smiling challenge in her manner gives an edge to the simple resolve that someone is here to see her boss. In the novel, Effie leans against the door after she comes in, a gesture with some of the same familiarity as seen in the film but without that added low-down quality of the film. In this first scene, every action tends to point to something more sinister, dangerous, and sexual to come, all rolled into each gesture and camera an
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