Noir In The Maltese Falcon

Everything is shrouded in darkness. The dim street lights cast long shadows. The city is run by corrupt politicians, who are protected by crooked cops and mobsters. This is the world of noir. Often hard to define, noir is a genre of film that you instantly recognize whether you know it or not. Noir often follows a male character who is never as wholesome as he seems. In fact, there is a layer of mystery to everything that goes on within the story. The main character eventually meets a beautiful woman, who he inevitably falls in love with, but something always prevents them from getting together. This woman is seemingly a damsel in distress, but hides a troubled past. These female characters are called femme fatales. Noir films typically don’t

We are introduced to Sam Spade, a private detective, who runs a business with his partner Miles Archer. Private detectives are a common occupation for main characters in noir films. It allows them to get involved with crime, but it keeps them separated from police. After the shooting of Miles Archer, Sam is questioned by the police. The police indirectly accuse Sam of his partner’s death. A level of suspicion now surrounds Sam Spade. You are made to question whether or not he did have something to with the death of miles. Mystery is one of the most common conventions of noir. The viewer never quite knows who’s telling the truth and who is corrupt. The main character of a noir film is never perfect. They are always flawed in one way or another. Another convention of noir films are femme fatales. These are women use their good looks to get what they want. They have a troubled past and are often more dangerous than the lead male. The femme fatale in The Maltese Falcon is Ruth Wonderly. She goes to Sam Spade and his partner in hopes that they can help her find her sister. We later find out that her name is actually Brigid O’Shaughnessy and that she is searching for the maltese falcon. She uses Sam in order to get the falcon. Throughout the film, you never quite know whose side she’s