Maltese Falcon Movie Quotes

From Walt: The Grapes of Wrath, Les Misérables, To Kill a Mockingbird, Moby-Dick, The Ox-Bow Incident, A Tale of Two Cities, The Adventures of Huckleberry Finn, The Three Musketeers, Don Quixote (where your nickname came from), The Complete Works of William Shakespeare, and anything by Anton Chekhov. From Henry: Bury My Heart at Wounded Knee, Cheyenne Autumn, War and Peace, The Things They Carried, Catch-22, The Sun Also Rises, The Blessing Way, Beyond Good and Evil, The Teachings of Don Juan, Heart of Darkness, The Human Comedy, The Art of War. From Vic: Justine, Concrete Charlie: The Story of Philadelphia Football Legend Chuck Bednarik, Medea (you’ll love it; it’s got a great ending), The Kama Sutra, Henry and June, The Onion Field, Fear and Loathing in Las Vegas, Zorba the Greek, Madame Bovary, Richie Ashburn’s Phillies Trivia (fuck you, it’s a great book). From Ruby: The Holy Bible (New Testament), The Pilgrim’s Progress, Inferno, Paradise Lost, My Ántonia, The Scarlet Letter, Walden, Poems of Emily Dickinson, My Friend Flicka, Our Town. From Dorothy: The Gastronomical Me, The French Chef Cookbook (you don’t eat, you don’t read), Last Suppers: Famous Final Meals From Death Row, The Bonfire of the Vanities, The Scarlet Pimpernel, Something Fresh, The Sound and the Fury, The Maltese Falcon, Pride and Prejudice, Brides-head Revisited. From Lucian: Thirty Seconds over Tokyo, Band of Brothers, All Quiet on the Western Front, The Virginian, The Basque History of the World (so you can learn about your heritage you illiterate bastard), Hondo, Sackett, The Man Who Shot Liberty Valance, Bobby Fischer: My 60 Memorable Games, The Rise and Fall of the Third Reich, Quartered Safe Out Here. From Ferg: Riders of the Purple Sage, Kiss Me Deadly, Lonesome Dove, White Fang, A River Runs Through It (I saw the movie, but I heard the book was good, too), Kip Carey’s Official Wyoming Fishing Guide (sorry, kid, I couldn’t come up with ten but this ought to do).

Some lines you just don't cross. Not in my business." "Your business?" Georgia rolled her eyes. "You mean the private detective business? I wasn't aware you guys had such ironclad rules about making out with clients." She ignored the choking sound he made. "Seriously, have you even seen The Maltese Falcon?" Darius' face heated. "This isn't some movie, Ms. Clare. You're not Mary Astor, and I'm sure as hell no Humphrey Bogart. Here in the real world, there are rules.

There's never any telling what you'll say or do next, except that it's bound to be something astonishing. By God, sir, you are a character.

And so she signed on, not knowing, surely, what is now quite clear to us: that she was about to create one of the enduring archetypes of the American screen, the noir female. Certainly this creature had her antecedents in the vamps of the silent screen. But they tended to be European in origin, and to hide their schemings under a highly romantic manner. It might also be argued that there were hints of what was to come in figures like Mary Astor's Brigid O'Shaughnessy in The Maltese Falcon (though she, of course, affected a genteel disguise for her true motives). But really the bluntness and hardness of Stanwyck's work was something essentially new, and the alacrity with which it was imitated in film after film of the 40s is one of the interesting, largely unexplored questions of our movie and social history. It surely had something to do with the freedom American women claimed for themselves during the war years, and the nervousness that stirred among males - especially males who were absent at the front and concerned about the fidelity of the girls they left behind. Hard to keep them down on the farm (or behind a suburban picket fence) after they had found work in the rough atmosphere of factories, known the joys of living alone and, for that matter, going to bars alone. Phyllis Dietrichson did none of those things, but she had been a working woman and she was clearly capable of - putting it mildly - a high degree of self-sufficiency.

But no single star of the genre captivated Osip more than Humphrey Bogart. With the exception of Casablanca (which Osip viewed as a woman’s movie), they had watched all of Bogart’s films at least twice. Whether in The Petrified Forest, To Have and Have Not, or, especially, The Maltese Falcon, Osip appreciated the actor’s hardened looks, his sardonic remarks, his general lack of sentiment. “You notice how in the first act he always seems so removed and indifferent; but once his indignation is roused, Alexander, there is no one more willing to do what is necessary—to act clear-eyed, quick, and without compunction. Here truly is a Man of Intent.