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El halcón hace presa

Título original: The Falcon Takes Over
  • 1942
  • Approved
  • 1h 5min
CALIFICACIÓN DE IMDb
6.4/10
1.3 k
TU CALIFICACIÓN
George Sanders and Lynn Bari in El halcón hace presa (1942)
Hard-boiled DetectiveWhodunnitComedyCrimeMysteryRomanceThriller

Agrega una trama en tu idiomaThe Falcon and reporter Ann Riordan try to solve a string of murders after an ex-wrestler, released from jail, goes looking for his girl friend.The Falcon and reporter Ann Riordan try to solve a string of murders after an ex-wrestler, released from jail, goes looking for his girl friend.The Falcon and reporter Ann Riordan try to solve a string of murders after an ex-wrestler, released from jail, goes looking for his girl friend.

  • Dirección
    • Irving Reis
  • Guionistas
    • Lynn Root
    • Frank Fenton
    • Michael Arlen
  • Elenco
    • George Sanders
    • Lynn Bari
    • James Gleason
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    6.4/10
    1.3 k
    TU CALIFICACIÓN
    • Dirección
      • Irving Reis
    • Guionistas
      • Lynn Root
      • Frank Fenton
      • Michael Arlen
    • Elenco
      • George Sanders
      • Lynn Bari
      • James Gleason
    • 38Opiniones de los usuarios
    • 17Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
  • Fotos23

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    Elenco principal48

    Editar
    George Sanders
    George Sanders
    • Gay Lawrence
    Lynn Bari
    Lynn Bari
    • Ann Riordan
    James Gleason
    James Gleason
    • Inspector Mike O'Hara
    Allen Jenkins
    Allen Jenkins
    • Jonathan 'Goldy' Locke
    Helen Gilbert
    Helen Gilbert
    • Diana Kenyon
    William Alland
    William Alland
    • Reporter
    • (sin créditos)
    Roxanne Barkley
    • Hat Check Girl
    • (sin créditos)
    Turhan Bey
    Turhan Bey
    • Jules Amthor
    • (sin créditos)
    Ward Bond
    Ward Bond
    • Moose Malloy
    • (sin créditos)
    Sally Cairns
    • Girl in nightclub
    • (sin créditos)
    Fred Carpenter
    • Newsboy
    • (sin créditos)
    George Cleveland
    George Cleveland
    • Jerry - Servant
    • (sin créditos)
    Hans Conried
    Hans Conried
    • Quincey W. Marriot
    • (sin créditos)
    Kernan Cripps
    Kernan Cripps
    • Doorman
    • (sin créditos)
    Eddie Dew
    Eddie Dew
    • Reporter
    • (sin créditos)
    Frank Fanning
    Frank Fanning
    • Detective
    • (sin créditos)
    George Ford
    George Ford
    • Nightclub Patron
    • (sin créditos)
    Edward Gargan
    Edward Gargan
    • Detective Bates
    • (sin créditos)
    • Dirección
      • Irving Reis
    • Guionistas
      • Lynn Root
      • Frank Fenton
      • Michael Arlen
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios38

    6.41.2K
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    Opiniones destacadas

    bob the moo

    An OK film – a poor version of the Chandler story due to the strange mix of a noir plot with a jokey, light character and series

    While out at a local club, Gay Lawrence finds himself close by when a man called Moose Malloy comes into the club looking for his Velma, killing the manager in the process of asking. The police pick up on the case but Gay starts searching for Velma. He picks up a lead that involves a meeting, before getting a call out of the blue from a man looking for help. When the 'case' turns out to be a trap designed to kill Gay, he finds himself in the middle of something bigger than he expected.

    I'm not sure why, after so many films, the Falcon series suddenly reached into Raymond Chandler for its source material. Perhaps it was the fact that Sanders was fed up doing the films and maybe they were trying to provide of a film for him to work with. Certainly this is a rather different entry in the series that manages to change some elements of the series while also keeping aspects that make it a Falcon film – however this is a weakness rather than a plus point because the two aspects detract from one another. Being the first filmed version of Farewell, My Lovely, this film gets off to a good start; in fact I was surprised to see Moose Malloy looking for Velma and I started to think maybe it was spoofing the film, until I realized that this was made a couple of years before the most famous version. The plot is dark and mysterious and is better delivered as noir – something that the Falcon film cannot do whilst trying to remain a Falcon film. So although the plot follows the source material well, it never really gets a tone that it deserves.

    The reason for this is that the material is mixed with the usual Falcon brand of humours and characters. Elements such as Goldy's quips and the discussions between O'Hara and his detective are funny but they don't fit well. Of course this hurts the Chandler material more than it hurts the Falcon series because the addition of a good plot helps add to the usual Falcon aspects – so it turns out to be a good Falcon film but a very average version of the Chandler story. The cast don't really help either, some failing on their own terms while others show their shortcomings when compared to different actors playing the same roles in other versions. Sanders was one film away from leaving the series – as with his suicide, when he had had his fill of things he simply stepped out without fuss. In his performance here you can see that his heart is not in it anymore - he makes little effort with the material given him although it is not all his fault; he couldn't be expected to suddenly turn the Falcon into the complex, downbeat hero of Chandler's story. Jenkins does his usual stuff pretty well but I think he knew that he was an add-on to the story and he tried hard to compensate. Gleason is pretty funny in a minor role but the story specific characters are not as well played as they would later be. Bond may well have been a good model for later versions but he is not as good as them. He tries hard and has a good presence but I just found it hard to accept him as the character. The actresses in the roles of Velma and Riordan are all OK, but nothing more than that.

    Overall this is an OK Falcon film despite the weaknesses. The plot is better than normal but not as well used as the same source would be in other films later on. The Falcon humour and character take away from the core of the story and stop it being the noir it deserves to be, while the mix of material and series formula is not totally successful – not quite oil/water but certainly strange bedfellows. Fans of the Falcon and Chandler completists will seek it out but for most people it will just be an average crime film or a poor version of a story done better elsewhere.
    6Jim Tritten

    Poor Man's `Murder My Sweet/Lovely'

    Anyone who has seen the definitive Edward Dmytryk film noir `Murder My Sweet' (1944) will blanch at this low-budget Falcon version of Raymond Chandler's 1940 `Murder My Lovely.' Life is not fair – more viewers will have seen the subsequent performance of Dick Powell as detective Philip Marlowe than George Sanders efforts as Gay Lawrence. These films are simply not comparable although they are based on the same novel. And it isn't that Dmytryk never made Falcon-class films – he directed `The Falcon Strikes Back' in 1943. It is just that `The Falcon Takes Over' comes nowhere near the superior `Murder My Sweet' and thus anyone who has seen both versions will be disappointed.

    Director Irving Reis was teamed with George Sanders on the first three of the Falcon films – this one being the last appearance for both in the series. George Sanders especially disappointed me – he has done better in this type role and I am pre-disposed to like anything that he has done. Ward Bond does a good job at playing the hulk Moose Malloy – but anyone who has seen Mike Mazurki will not be as impressed. Allen Jenkins does well as faithful sidekick Jonathan 'Goldy' Locke but in the Tom Conway Falcon series, Edward Brophy is a good substitute. James Gleason is always good as the policeman in charge.

    See this to compare or to round out your viewing of the Sanders Falcon series.
    6blanche-2

    Farewell, My Lovely

    George Sanders is again The Falcon in "The Falcon Takes Over," a 1942 entry into the series. This one is the plot of "Farewell, My Lovely," and Ward Bond as the nearly catatonic strongman Moose Malloy walking around in a fog looking for Velma.

    They've sort of stuffed The Falcon and Goldy into this plot, a complicated story that was tough to cram into 65 minutes. Consequently this isn't the breezy Falcon we're used to, and most of the comedy goes to Goldy, who is terrified of Malloy and sees him around every corner. James Gleason, as the Inspector O'Hara, investigating the murder of a night club manager, also had a funny bit he did several times with his underling.

    Hans Conreid has a serious role here as Marriot, and Turhan Bey has a small role as swami Jules Amthor.

    All in all, entertaining, maybe not the usual Falcon except for his flirting with every woman, but decent.
    8planktonrules

    Maybe this might offend a few Raymond Chandler fans, but this is one of the better Falcon movies

    As I watched the opening credits, I was surprised to see that this Falcon movie was actually based on the Raymond Chandler book "Farewell, My Lovely"--which I'd seen twice before in the forms of MURDER, MY SWEET (1944) and FAREWELL, MY LOVELY (1975). What particularly surprised me about this is that was a originally Philip Marlowe story, NOT a Gay Lawrence (a.k.a. "The Falcon") film. Now Raymond Chandler purists might balk at this, but the film actually compares reasonably well to these later films--even with a leading man who is so unlike the hard-boiled detective, Marlowe. While the settings were "classed up" quite a bit compared to the novel, the overall plot is still there with only a few minor changes (such as at the very end and the disposition of "Velma"). Additionally, Allan Jenkins, Lawrence's lady friend and the cops were integrated into the original plot.

    Now if you were going to rate this film, you can't really compare this RKO B-film to the two later higher budget films. The later films are more faithful to the book, but they also have the advantage of being made AFTER Chandler became more famous--and when producers would have never considered getting rid of the Marlowe character. And, while some might be very critical of the lower budget THE FALCON TAKES OVER, if you compare it to other B-detective series films of the day (such as Boston Blackie, Charlie Chan or The Lone Wolf), it is clearly superior--mostly due to the basic foundation laid by Chandler. Plus, George Sanders is his usual affable and suave character--a guy that's hard not to like even if he isn't as jaded and tough as Marlowe.

    For lovers of the B-movie genre, this is an exceptional and engaging film--significantly better than the later Tom Conway films in the series. In fact, aside from 'the earlier THE GAY FALCON, it might just be the best in the series.
    7csteidler

    George Sanders bridges gap between hard boiled plot and comic supporting cast

    Ward Bond is Moose Malloy, deranged escaped convict searching for a one time girlfriend named Velma. Drawing considerable noisy attention to himself, the Moose tracks down a shady night club manager who seems to know something—but is quickly murdered. That's just the beginning of a complicated plot that includes seedy characters, dimly lit locales, and more questions than answers.

    George Sanders is excellent as Gay Lawrence—also known, of course, as the Falcon. Sanders handles the picture's serious mystery elements with gravity and style. He also manages to fit into the other half of the plot, which is essentially comic relief provided by the Falcon's right hand man Goldie Locke (Allen Jenkins) and the usual bickering police duo (James Gleason and Edward Gargan as exasperated inspector and dumb assistant detective).

    Lynn Bari is fine as the female in the case – unexceptional but solid as the usual plucky girl that the Falcon teams up with. She and Sanders exchange some decent banter: "You believe me, don't you?" she asks at one point. "I like you," he answers, "which is much more important."

    Easy viewing for fans of series mysteries, with Sanders' strong performance standing out.

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    Argumento

    Editar

    ¿Sabías que…?

    Editar
    • Trivia
      The third of 16 movies for the suave detective nicknamed "The Falcon," released from 1941 to 1949, and the third of four starring George Sanders.
    • Errores
      In a night club scene The Falcon and Diana Kenyon are sitting close together talking. There is a plant pot on a ledge behind them, partially obscured and on the table a champagne glass is in front of Diana Kenyon. In the next shot, there is a gap separating the two, the flower pot is now centrally placed between them and the champagne glass has moved position.
    • Citas

      Diana Kenyon: May I offer you a drink?

      Gay Lawrence: Never before sundown.

      Diana Kenyon: And after that?

      Gay Lawrence: After that the deluge.

      Diana Kenyon: What about tonight?

    • Conexiones
      Followed by The Falcon's Brother (1942)
    • Bandas sonoras
      The First Time I Saw You
      (uncredited)

      Music by Nathaniel Shilkret

      Lyrics by Allie Wrubel

      Introduced in The Toast of New York (1937)

      Sung by uncredited actress in first night club scene

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    Detalles

    Editar
    • Fecha de lanzamiento
      • 27 de noviembre de 1943 (México)
    • País de origen
      • Estados Unidos
    • Idioma
      • Inglés
    • También se conoce como
      • The Falcon Takes Over
    • Locaciones de filmación
      • Hollywood, Los Ángeles, California, Estados Unidos
    • Productora
      • RKO Radio Pictures
    • Ver más créditos de la compañía en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 5 minutos
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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