The Maltese Falcon

It's 1928. San Francisco PIs Sam Spade and Miles Archer are engaged by a young lady to shadow a man she alleges has kidnapped her sister. Not true--and Archer is soon the late Archer, leaving Sam to seek both his killer and the titular statue. This dramatization is heavily influenced by the movie version of Hammett's novel. The actor who reads Sam Spade closely follows Humphrey Bogart's style. The Sidney Greenstreet role is delivered as a carbon copy of Greenstreet's speech pattern. The roles played by Peter Lorre and Mary Astor escape this mimicry. All in all, this is an entertaining performance that makes one want to see the movie again. R.E.K. (c) AudioFile 2005, Portland, Maine

January 26, 2009
The classic noir story is given new life with this full-cast adaptation. When a damsel in distress steps into Sam Spade's office spinning a yarn of a kidnapped sister and shady older man, Spade is doubtful but intrigued. Soon, he's pulled into an international hunt for a bird made of gold that leaves a trail of dead bodies, including his partner. Michael Madsen initially comes on a bit strong as Spade with a tone and growl that goes beyond previous renditions, but by the end, he has appreciatively mellowed. The supporting cast (including Sandra Oh and Edward Herrmann) are fine but unmemorable. The sound effects fading in and out of the production prove so subtle that it's often hard to determine if one is hearing them from the story or from the real world. The occasional musical score is reminiscent of old-time radio and used sparingly. A Vintage paperback.

All the characters in this story are famously despicable. Private eye Sam Spade is motivated by personal gain and his own ego. His clients are no more moral--they are selfish, dishonest, double-crossing, greedy, and sometimes even violent. At the heart of this classic "noir" is the search for the valuable jewel-encrusted falcon. Despite the repugnance of the characters, William Dufris's reading is tremendously likable. His enthusiasm is well suited to creating distinctive voices for each character and an overarching atmosphere of distrust. Dufris's use of timing is impeccable--forcing slow, tortured silences that increase the suspense just when a print reader would be flying through the pages to discover the ending. A.B. (c) AudioFile 2004, Portland, Maine