The Maltese Faclon (1941)
Good story, bad characters (mostly)
I didn't find any of the major characters in this appealing. No, that's not true. The one character I actually liked was Bogart's secretary, a no nonsense woman who's the only one that seems able to be on the same level as Bogart and acctually talks back to him. The rest of the cast is one unlikable role after another culminating with Bogart's character. Sam Spade seemed like an unemotional douch all the way to the end, where he did the right thing simply because the script called for it. The story as such wasn't bad, a simple enough story but told well. If this is what noir is in a nutshell, I think I'll see a few more.
Good story, bad characters (mostly)
I didn't find any of the major characters in this appealing. No, that's not true. The one character I actually liked was Bogart's secretary, a no nonsense woman who's the only one that seems able to be on the same level as Bogart and acctually talks back to him. The rest of the cast is one unlikable role after another culminating with Bogart's character. Sam Spade seemed like an unemotional douch all the way to the end, where he did the right thing simply because the script called for it. The story as such wasn't bad, a simple enough story but told well. If this is what noir is in a nutshell, I think I'll see a few more.
Scarlet Street (Fritz Lang, 1945)
The Big Sleep (Howard Hawks, 1946)
The Killers (Robert Siodmak, 1946)
Kansas City Confidential (Phil Karlson, 1952)
I Confess (Alfred Hitchcock, 1953)
Kiss Me Deadly (Robert Aldrich, 1955)
The Night of the Hunter (Charles Laughton, 1955)
A Face in the Crowd (Elia Kazan, 1957)
Touch of Evil (Orson Welles, 1958)
Last edited by Citizen Rules; 09-02-16 at 08:50 PM.