Yesterday i was thinking about a past post concerning film noir while I was watching Akira Kurosawa’s Stray Dog (1949). In it I explored the nature of character and characterization in The Matlese Falcon (1941). This morning I received a very interesting comment from Tony D’Ambra, the man behind the rather good Film Noir.net, concerning a few points he wished to pull up. One major point he made was his belief that The Maltese Falcon‘s Sam Spade was a true film noir P.I. On further contemplation I believe that I should inlight of my own post concerning the nature of genre make a short note on the Film in-question. Although I believe that Sam Spade lacks that spiral into death or dishonour that a femme fatal brings it is true that I was concentrating too much on that precise element of film noir (it happens to be one of the most fruitful elements of film noir due to the ability of the critic to analyse it from several different angles) for my analysis of The Matlese Falcon. As I mentioned in my post concerning the nature of genre, all genre’s are family-resemblance concepts and therefore certain elements can be missing or excluded from a film because an element is not definitivly included in all.
Tag: Sam Spade
Proto-Noir and Incomplete Character in the Maltese Falcon?
Maltese Falcon (1941)
Sam Spade isn’t the archetypal noir detective but he is close, he shows the cool command, the detective skills and the hard-boiled cynical nature found in the noir detective however his character lacks a certain trait. This trait is found in his partner but not himself. This trait is the doomed relationship with the femme fatal or the dark-ego female. Frank Krutnik explains ‘Spade is emphatically controlled in his relations with women: he is the master of his feeling and thereby can resist any danger of contamination and debasement through love’.1The ‘contamination and debasement’ though connection with the femme fatal is one of the central aspects of the true noir fiction detective’s personality. As I mentioned in my post about Coogan’s Bluff the interesting aspect of any character is the contradictions apparent in their character. The noir detective is interesting because he is both cool and in-command at the same time in-lust and hypnotised by the femme fatal. Again like the protagonist in Coogan’s Bluff he is both the rule-maker and rule-breaker. Sam Spade is too cool and too in control to be entirely interesting and entirely complete as a noir detective. This isn’t to say that his character doesn’t contain a dark side, he sleeps with his partner’s wife and doesn’t bat an eyelid when given the news concerning the same partner’s death. In combination Sam Spade and his partner create the archetypal noir detective. Stephen Cooper explains that ‘it can be no coincidence that the lascivious Mile Archer [Spade’s partner] is shot to death in the [scene] following’ the attraction and lust of Archer for Brigid O’ Shaughnessy.2Essentially and in concentration Archer suffers the fate that several other detectives will suffer when they become emotionally connected with the femme fatal or dark-ego female. Archer’s story is condensed compared to Walter Neff’s narrative of destruction in Double Indemnity (1944) however it is essentially the same. In many films the attempt to win a heterosexual prize comes along with the conclusion of a narrative, however: in film noir this always leads to death, either one’s own or hers.
Another interesting aspect concerning Archer’s death is that it is so brief, it hardly appears on the screen. We are not given time to build up an emotional state in either the killer or the victim. We are also not allowed to glimpse at the sad sight of Archer’s corpse as Spade refuses to witness it as he believes the police would’ve noticed everything he could have. The refusal to expose the emotional state of the crime in both the murderer and murdered is in fact a structural affect of the Hollywood system. Sam Spade is the focus point, the focalizer, and it is his emotions, his narrative that the camera follows and because he is indifferent to Archer’s death we aren’t given access to the emotional states connected to the murder. Structurally Archer is damned to suffer death and an obscure and unemotional one.
1Frank Krutnik, In A Lonely Street: Film Noir, Genre, Masculinity, London: Routledge, (1994), p. 123.
2Stephen Cooper ‘Sex/Knowledge/Power in the Detective Genre’ Film Quarterly, Vol. 42, No. 3, (Spring, 1989), pp. 22-31 p. 24.