The Falcon Takes Over

Comparing this film to Chandler's novel or to Murder My Sweet - and I'm a huge fan of both - is pointless. This 'Falcon' is a terrific 40s programmer, and I enjoyed seeing how plot elements and characters from the novel were whipped up into a frothy and fun comedy. I've read all the bios on Chandler and knowing he loathed Hollywood, he probably loathed what RKO did to his magnum opus, but Falcon fans, and me, liked it. This is my first Falcon film, watched only because Lynn Bari played the female lead. My interest in seeing Bari's films comes from reading her superbly wonderful biography, 'Foxy Lady', and Bari is terrific here as the investigative reporter who could have solved this mystery all by herself. I've always liked George Sanders, and he doesn't disappoint. The Velma actress had the right vampish allure, but her hairstyle is jarring and I got distracted wondering why RKO didn't borrow Metro's Guilaroff to fix her wig. I laughed a lot at the comedians - Jenkins, Gleason and his sidekick, the Falcon's valet. All in all, I had a very enjoyable Saturday night at the movies.

Better than average Falcon, thanks to colorful Raymond Chandler characters and noirish touches. The suspense centers on what's happened to mystery woman Velma, instead of the more standard whodunit. An even bigger mystery is why the cast credits are so skimpy. A number of principal actors appear without name credit, including the pivotal Ward Bond and Hans Conreid. So, what's the story with this?

Anyway, Sanders is his usual smooth self as he tracks down the mystery woman; at the same time, Lynn Bari makes a sprightly girl-Friday reporter. The script comes up with some good throw-away lines, so cock an ear. Importantly, director Irving Reis has a feel for noirish touches that create more atmosphere than most Falcon entries.

Of course, the Chandler original has been filmed many times, most effectively as Murder My Sweet (1944). Nonetheless, considering its programmer status, this first version manages some interest. Ward Bond makes a convincing Moose Malloy, and get a load of Helen Gilbert as Diana Kenyon. She looks like a double-scoop vanilla ice cream cone. Also, the usually riveting cult actress Ann Revere has a minor role, unfortunately as a not very convincing Jesse Florian. Too bad the script didn't develop the phony psychic thread more fully since the hocus-pocus provides both atmosphere and color. Nonetheless, it's still an entertaining 60 minutes of Falcon.

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.

This is an odd mix. The humor of the Falcon grafted into a Cliff notes version of Raymond Chandler that doesn't do either justice.

The plot of Moose Malloy trying to find his Velma and leaving a trail of bodies in his wake has been done several times all very seriously. Here the case is taken from Phillip Marlowe and given to George Saunders as the Falcon and its almost is a classic.

The problem is that the two styles, the Falcon's wisecracking doesn't mix with the seriousness of the source material. The two parts the humor and the crime drama are perfectly done when each takes the center stage but the shifting from one to the other doesn't really work well. Saunders is so good a hard boiled private dick that I really wonder what would have happened had be been allowed to play a real tough guy.

The worst flaw of the film is only apparent to those who know the original story and that is the speed at which its told. We fly through this story at light speed, and while it works here as a programmer, its shortening is glaring and jarring to those who love the other versions.

On its own terms its a very very good movie. As a representation of a Raymond Chandler book its a mere curio. I suggest you just take it for what it is for a good nights entertainment.

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.