Friday the Thirteenth
Happy Friday the Thirteenth! Celebrations of note today include a midnight screening of the eponymous holiday movie (1980)* at AFI's Silver Theater,* but I don't think I'll venture out. Another movie missed due to my overwritten two-day semester: Álex de la Iglesia's lusciously black comedy el Día de la Bestia (Day of the Beast, 1995),* a wicked favorite featuring one lapsed Basque priest's attempt to stem the apocalypse using methods cabbalistic and profane. ...Beast sets the tolerance below Iglesia's more jaw-dropping Acción Mutante (Mutant Action!, 1993)* a futuristic revolution so giddily pitch as to put facial staples to ripe comedic use. So what did I see? An immediate reward for curbing any linguistic potential: I was finally able to catch an early afternoon screening of John Houston's parlor pulp masterpiece the Maltese Falcon (1941).* Completely unimpeachable, though I was surprised to note how sedate Huston's direction is here. There are occasional touches of flair: one dramatically-lit foreshadowing finds the camera roving all around the Spade & Archer office seeking deep meaning in cast shadows, for example; but this movie is mostly presented flatly, inertly following long expositive passages with nary a grit of the niorish texture usually present in Houston's rich crime verité. Very well. This is pulp after all, and keeps nicely apace of Dashiell Hammett's complex novel, though without the author's many socio-sexual observations. Need I synopsize? Sam Spade is hired by some dame; but it's okay, Sam knows the dame is lying. What he doesn't know is about this bird statue, see, and a cast of real foxy characters chasing each other for it. But that's okay, too. Key to this movie's untouchable status is yet another flexible and almost diabolical performance by Humphrey Bogart as the hot-and-cold-running nihilist Spade, a shark in crook-infested waters. [Cavin]