The Falcon Takes Over

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.

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.

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.

Put this one in the same category as "Satan Met a Lady". An amusing way to kill some time for hard-core fans (of Chandler or Hammett), but so far from "essential" that you can't even see the road back to "essential".

I guess that we have "The Thin Man" to blame for all this. The success of that movie (and franchise) must have inspired every movie studio out there to create their own version of the suave, wise-cracking society detective.

It terms of the source material, it's kind of a "mystery" to me (sorry) why they even felt it necessary to borrow part of the plot from "Farewell, My Lovely". The movie is only 65 minutes long, so you barely get past the first visit to Amthor (the psychic) and things are starting to wrap up. That's only about 1/4 or maybe 1/3 of the way through the original novel -- and most of what *is* taken from the novel had to be twisted around to fit the characters in this movie -- so you get none of the classic Chandler material about Santa Monica (excuse me, "Bay City"), the sanitarium, the gambling boat, etc, etc, etc. Also, the whole setup with Lindsay Marriott coming in to ask the detective to accompany him to his payoff is pretty absurd when the main character is a society bon vivant who solves crimes in his spare time rather than a professional private investigator. It seems to me like it wouldn't have been that much harder to just write a new mystery (or adapt some less incongruous one) but I guess that starting with "Farewell My Lovely" allowed them to finish the script for this movie in, say, twenty minutes instead of an hour.

So there's nothing "noir" about this movie at all; it's really only for hard-core fans of Chandler's writing or light 30s/40s mystery/comedies, but it's a fun way to pass some time on a rainy Sunday afternoon.

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.