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Original title: Cani arrabbiati
Italy: Mario Bava, 1974/2001

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Original title: La Terza madre
Italy/USA: Dario Argento, 2007

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USA/Canada: Jason Reitman, 2007

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Original title: Majo no takkyûbin
Japan: Hayao Miyazaki, 1989

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USA: Wolfgang Reitherman, Hamilton S. Luske, Clyde Geronimi, 1961

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USA: John Huston, 1941

I had my first proper film noir experience today in the form of John Huston's celebrated 1941 offering, The Maltese Falcon. I don't mean by that that it was the first film noir I'd ever seen, but rather that it was the first time I sat down to watch a film thinking "Right, this is a film noir. What does that mean and how does it manifest itself?"

The Maltese Falcon is currently ranked as the 69th greatest film of all time on IMDB, and, regardless of how much or how little faith you put in such lists (personally, I think they're generally of little value), it's tough to deny that it's difficult to approach any film with that sort of reputation, particularly one that's over 60 years old. How do you even begin to comprehend how it would have been viewed at the time of its release, and how do you begin to appreciate its various innovations in that context, knowing full well that they have now been assimilated into the everyday language of film? The answer is that you don't, unless you possess both a time machine and a means of erasing all of your existing knowledge and preconceptions regarding the type of film in question. The Maltese Falcon is very much a quintessential film noir, but it wouldn't have been seen as such in 1941, given that the movement didn't enjoy its glory period until some years later, and it would take even longer for people to begin actively referring to these as film noirs.

So anyway, did I enjoy The Maltese Falcon? Yes, I did - considerably so, in fact, although, as I find to be the case with many films that are considered the greatest of their respective genres or movements, my enjoyment didn't develop into out and out awe or adulation. I found it consistently witty dialogue-wise and at many points engaging, but there were also several moments for me where things began to sag a bit and my interest started to wane. Each time that happened, a plot development would generally show up in a few minutes to regain my attention, but my overriding reaction was "Yeah, this is a really good film" rather than "Wow, this is one of the greatest films of all time!" (Oh, and a minor criticism: I must admit that the continual continuity flubs, mainly actors changing position between shots, kept taking me out of the drama.) That said, I'm pretty sure my reaction to Deep Red was somewhat similar the first time I saw it, and we all know how highly I regard it now.

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