Hammett

'Hammett' is an excellent case of Zoetrope Studios, utilizing Coppola's unusual electronic-soundstage method of production (which would be further refined in his seldom-seen 'One From the Heart,' also with Frederick Forrest). In certain respects the film is like Paul Schrader's 'Mishima,' also based on a literary figure, with a seamless interweaving with the author's fictional characters along with thw writer's real life. Watch 'Hammett' and try to sort out the various strains that pop up in different films based on his work, notably the 'Maltese Falcon.' Elijah Cooke is one of the stars of the 1982 Wenders film. Don't forget the music, the soundstage decor with the recreation of late 1920's San Francisco, and the general mood that makes 'Hammett' a worthy entry to anyone list of must-see noir films.

I didn't really expect my first forray into Wenders to be a fictionalized pulpy detective story homage to the patriarch of pulpy detective stories, writer Dashiell Hammett, produced by Coppola's Zoetrope Studios, but there you have it. Strangely, I'm not even sure this is a Wenders film in anything but name, as Coppola himself allegedly had to reshoot one and a half years after Wenders wrapped shooting significant portions of a film his backers found very 'dissatisfying'. Par the course for a film that had to undergo so much revamping to please money men, Hammett is a mess, albeit an interesting mess.

If the premise sounds good enough, pulpy writer Dashiell Hammett being drawn one last time into his detective past as a favour to a former Pinkerton colleague whom he helps investigate the disappearance of an underage Chinese prostitute, the script never quite fulfills its potential. Not because it's sprawling and convoluted (the best noirs usually are), but because it's just that for all the wrong reasons, and on top of that half-baked and unconvincing. At times it plays almost like a Dick Tracy caricature of noir plots.

Most interesting thing about it however are the meta- aspects of the story, probably what drew Wenders into the fold (apart from his fascination with American genre cinema). Writer Hammett playing detective Hammett, the lines between reality and fiction blurring dangerously as he does. But the film never runs with it, as though afraid it might alienate a mainstream audience that likely had little vested interest in such a film to begin with.

The opening sequence shows what might have been: having just finished his latest novel, Hammett lies down playing out the ending in his head; after a violent coughing fit, he staggers back into his living room only to find waiting for him the hero of his book. Is Hammett hallucinating in the grip of alcohol and tuberculosis or does he base his fictional characters on people he knows?

The ending tries to bring all that back full circle but it's too little too late. The movie has dawdled a little too much in squeaky clean Zoetrope sets trying to pass for 1920's San Francisco, has tripped over the needlessly convoluted mess it creates for its characters. It's still a fun watch, the cast is populated by familiar faces (three Twin Peaks actors, Sam Fuller, Elisha Cook Jr.), and Frederic Forrest gives a good show. Interesting curio, not much else, Hammett fans will probably dig it significantly more than me.

Watched Coppola/Wim Wender's "Hammett" again this past w/e- the film grows on me- has a flavour I like- the detective genre mixed with post-turn of the 20th century San Francisco- and the fact that SO MUCH is done on soundstages gives it a surreal quality. The film's production history has always been interesting (Frederick Forrest and Marilu Henner got married and divorced during it's long, tumultuous halt-run production). But, if you have never seen this or heard the John Barry score- you should. At least the score. It's to be placed in the Barry category called "unusual"- piano melodic and a lot of strained strings prevail- giving it a gin-soaked, withdrawn feel that still tugs through a foggy SF even when it's clear. A dubious above-ground underworld sucks all the characters and audience into a not-so-licentious but rather everyday (same then as today) corrupt city power structure. The film and score play off of each other, intertwining, massaging and playing out a tale of woe, misbegotten friendship and a lusty disgust for those in-power at that unique place by the bay. If ANYthing can be said of this film- it's that it has character-a-plenty and that includes the score

When a young Chinese woman by the name of "Cristal Ling" (Lydia Lei) goes missing in San Francisco a retired detective turned novelist named "Samuel Dashiell Hammett" (Frederic Forrest) agrees to attempt to find her. However, he soon begins to realize that there is much more to this missing person's case than his private detective friend "Jimmy Ryan" (Peter Boyle) initially told him. And the fact that even the police advise him to steer clear is even more cause for caution and concern. Now rather than reveal any more I will just say that this was an interesting mystery film which benefited greatly from the 1920's backdrop. Likewise, the twists and turns along the way which continued on to the very finish certainly helped to a great degree as well. Admittedly, it could have used a bit more action and suspense but even so I enjoyed this film overall and I have rated it accordingly. Slightly above average.

A surprising - and quite successful - belated attempt at film noir which gave Fredric Forrest the role of his life (Jason Robards Jr. had previously portrayed famed mystery writer Dashiell Hammett in JULIA [1977], and won an Oscar for it!) but also features terrific support from, among others, Peter Boyle, Marilu Henner, Richard Bradford and Elisha Cook Jnr. (playing an "anarchist with syndicalist tendencies"), not to mention cameos from the likes of Sylvia Sydney, Samuel Fuller and Royal Dano! Impeccable lighting and production design, together with John Barry's evocative score, set the seal on its perfect recreation of the genre's typical ambiance.

While the mystery plot wasn't immediately gripping and seemed unnecessarily convoluted (by way of an added fancy in which Hammett imagines characters from the film 'playing' the ones he invents for his stories!), it worked its way smoothly towards a satisfying conclusion. The fictionalized script took care to reference scenes from some of Hammett's most famous work - notably Roy Kinnear's Sydney Greenstreet impersonation and Forrest's own hand shaking (like Bogart's did) after standing up to the heavies, both from THE MALTESE FALCON (1941). However, the film's pornography subplot is actually derived from Raymond Chandler's "The Big Sleep"!

Even if HAMMETT doesn't seem to have suffered for it, the production was beset by behind-the-scenes problems which is a fascinating story in itself: executive producer Francis Ford Coppola had originally offered the film to Nicolas Roeg who, for some reason, didn't do it and eventually made BAD TIMING (1980; which, incidentally, I watched only a few days later!). Wenders, a lifelong devotee of American genre cinema, stepped behind the camera but his work apparently didn't meet the approval of his backers! "Halliwell's Film Guide" explained the situation thus: "The film was actually in pre-production from 1975, though shooting did not begin until 1980. This version was abandoned in rough cut and two-thirds of it was shot again in 1981 with a different crew. Sylvia Miles and Brian Keith were in the first version and not the second." For this reason alone, it's truly a shame that Paramount's DVD was a bare-bones affair (if very reasonably priced!) as a documentary on the making of the film or, better still, individual Audio Commentaries by Wenders and Coppola would have been greatly appreciated...