Hammett - Mistério em Chinatown

Hammett is a fictional story about the great writer Dashiell Hammett (played by Frederic Forrest). The story finds the writer retired from the Pinkerton Detectice Agency and nursing bad lungs and a taste for the liquor. When old colleague Jimmy Ryan (Peter Boyle) comes a calling, Hammett finds himself down in Frisco's Chinatown district in it up to his neck in muck and grime.

The back story to the production of Hammett is long and disappointing, all of which makes for fascinating reading and available at the click of a mouse. The film we have to view now may not be the one originally envisaged by director Wim Wenders, but on repeat viewings it shows itself to be a very loving homage to the halcyon days of film noir, a film of great technical craft and guile. Though not without issues either...

Production value is high, the set design that brings late 1920s Frisco to life is a joy, as is Joseph Biroc's luscious colour photography. John Barry provides a musical score that smoothly floats around the Gin Joints and Alleyways, while costuming is on the money. Cast are led superbly by the under valued Forrest, with Marilu Henner (Biroc lights her so well), Boyle and Lydia Lei striking the requisite film noir chords, while a host of cameos and short order roles will have the keen of eye putting names to the faces from similar films of yesteryear.

The story is complex, which is purposely complimented by narration, canted angles, slatted shadows, billowing smoke, and of course a number of venues that all anti-heroic detectives must traverse to unravel the mystery bubbling away under the seamy surface. The problems are evident of course, it's a very uneven picture, the re-writes etc leaving a disappointing mark. It's also like watching a performance at the theatre, akin to watching a play, the predominantly stage bound shoot - and the almost forced delivery of lines - makes it synthetic.

But ultimately there's a lot of noir love here, enough to ensure that repeat viewings for those of that persuasion should find themselves rewarded for their time. 7/10

'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.

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

HAMMETT was one of the first books I read for pleasure back in college and I recall anxiously awaiting how it was going to be Zeotroped on screen... visually the movie reminded me of a large single set production (like 1937's DEAD END)... it's almost as if somebody like Bill Gates took a film class and decided to adapt the book as his final. Large plot chunks are missing from the book (notably a car chase and a baseball bat murder) but this movie was so unique (in those pre-Joel and Ethan Cohen days) that I remember it looking like a strange painting even after 20+ years. Forrest is a terrific under-rated actor and was a perfect choice for Dash. You won't be wasting your time checking HAMMETT out but the book has it beat. 8/10.

In the background/historical notes to his novel, "Hammett," author Joe Gores says of one character, ". . . and if you don't know who he's based on, you need to read more Hammett." The movie, more or less based upon the novel, takes Gore's dicta to heart with several key characters. The result can be a whole lot of fun if you know your Hammett; if you're a little weak in that category, the result is merely a lot of fun.

Set in 1927 San Francisco, the film catches Dashiell Hammett in transition: Trying to firmly put his Pinkerton days behind him while establishing himself as a writer, dealing with the twin scourges of his World War I - induced tuberculosis and the alcoholism that will plague him almost to the end of his days, he finds himself drawn back into his old life one last time by the irresistible call of friendship and to honor a debt. By the time he's done, he finds himself having paid a far higher price, learning that he had only thought himself to be totally disillusioned beforehand.

"Hammett" the movie is as much an homage as "Hammett" the novel. It is a rare thing for neither a movie nor a novel to suffer by comparison to each other -- especially when the two are so divergent -- but that is exactly what happens here. The screenplay is strong, the production values uniformly excellent (check out the 1920s Market Street Railway streetcar which passes by in the background briefly in one scene, for example; only one in a thousand viewers might recognize it, and only one in possibly two thousand might appreciate the verisimilitude it provides), the direction and pacing authoritative.

Frederic Forrest is virtually perfect as Hammett; by turns ravaged and buoyant, hardboiled and outraged, at every turn ultimately unstoppable. By the film's close, he makes it very clear that, for Hammett, there will be no turning back; those moodily tapping typewriter keys which formed such an eerie backdrop for much of the action will also provide his salvation, and that this is a good thing.

And anyone who disputes that, as Joe Gores would say, needs to read more Hammett.