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Through the eyes of formalist film theory, I have decided to analyse ‘The Maltese Falcon’, directed by John Huston and released in 1941. Few films are exclusively formalist in style; however, this film is a good example due to it being film noir (which is an ideological interpretation related to formalism). It is a cinematic term used primarily to describe stylish crime dramas. These were demonstrated in low-key black and white visual style. Hollywood’s classical film noir period extended from the early 1940s to the late 1950s. I will be looking at the films use of; mise-en-scene, cinematography (including the use of lighting and camera work), narrative and scoring.
The formalist film theory suggests that film is art and not a reproduction of reality. Unlike realist theorists, formalist film theorists believe that cinema is possible, precisely because a movie is unlike everyday life. Their approach to film emphasises their ability to create story and emotion through manipulation. This is demonstrated by film noir.
Ideologues focus on how socio-economic pressures create particular style. Since formalism is primarily concerned with style and how it communicates the ideas, emotions and themes (rather than the themes of a work itself). In relation to The Maltese Falcon, the socio-economic pressures are highlighted through the mid-century American culture. The film is set in the late 1920s, during this time the division between the wealthiest and the poorest was increasing. This can be seen through the movie’s mise-en-scene, for instance the characters costume. Not only do the costumes effectively convey time and place but also the personality of the characters. The females wear furs, hats and jewellery (mainly pearls), whilst the males wear suits, ties, overcoats and trilbys. This displays that they are from the middle class.
Formalists use lighting less literally, which is why film noir is good example of this film theory. Generally lighting in these films is deep and complicated but is great subject and learning material for the modern cinematic world. Directors use low key three-point lighting called chiaroscuro in the art world. Formalist filmmakers are guided by its symbolic implications and will often stress these qualities by deliberately distorting natural light patterns, such as a face being lighted from below almost making them appear sinister. This is clearly shown during the shot of Kasper Gutman when he is conversing with Spade, even though he has a neutral facial expression the use of the back light in the 3-point lighting gives viewers this subconscious message. The directors use of a low angle shot here can also symbolise and possibly foreshadow that Gutman has dominance or power over Spade. Scenes in the film that can be seen as formalist are the parts where there are shadows in front of the actors faces. For instance, in one of the last scenes of the film, Mrs. O’Shaughnessy’s path towards indictment begins with her entering the elevator in Sam’s apartment building. After she enters the elevator, the bars cast “prison bars” across her face, signalling her eventual imprisonment. By having an obstruction placed in front of a light source (in this example the key light) audiences can assume frightening implications, for it tends to threaten our sense of safety. This is possibly Huston’s reason behind the majority of the film occurring at night, as it is harder for the characters to ‘watch their backs’.
Huston makes use of clever camera angles and long, unbroken takes. This is particular in the scene where Gutman drugs Spade. It's filmed in a way to trick the viewer, who sees the scene through Spade's point-of-view and catch them off-guard. When Spade takes a drink, his vision turns blurry, and he falls over. But watching the scene again, you wonder how you could have missed all the clues—the talking about alcohol, the filling of the glass, etc. Framing is also important in this film. At the start, there is a sense of ambiguity as viewers do not see the killers face, this feeling continues in the following scene as they don’t initially see who’s answering the phone – even though this shortly becomes clear.
Relating to the films narrative, stereotypically in most formalist styled films, the characters are portrayed in a great deal of depth. Huston demonstrates this when shooting The Maltese Falcon, as he filmed the movie in chronological order, allowing the actors to develop their characters during the course of filming and make the plot easier for them to follow. Another stereotypical characteristic is the lack of narrative. This film breaks this convention. On the other hand, one could argue that the storyline is similar in all film noirs of the classical era. This is seen because they all can be described as melodramas, the main character is flawed or morally questionable, they are shot in urban environments and they involve the crime genre.
The score of the film was written by Adolph Deutsch, and was only about 14 minutes long. The music was only used as an emphasis to underscore important scenes, for example when Captain Jacoby delivers the package containing the falcon to Spade there is little dialogue so the music crescendos to compensate and become the prominent sound. In addition to important scenes, the films’ score was also used underneath scene transitions. An example of this is the cross-cut from the sign ‘Spade and Archer’ to the sign ‘Bush Street’ at the start of the movie, which illustrates a change in location. Deutsch’s music can be considered to follow the formalist theory as it mainly relates to the pieces structure and not emotional expression. This is shown through his limited use of character motifs, for example Gutman has his own theme which is titled “Gutman”. Think of Deutsch’s brief tracks as markers to point out important scenes so audiences don’t miss them.
In conclusion, I believe The Maltese Falcon was heavily influenced by socioeconomic pressure of the time and by the formalist theory. This is shown through the directors use of film noir.
Through the eyes of formalist film theory, I have decided to analyse ‘The Maltese Falcon’, directed by John Huston and released in 1941. Few films are exclusively formalist in style; however, this film is a good example due to it being film noir (which is an ideological interpretation related to formalism). It is a cinematic term used primarily to describe stylish crime dramas. These were demonstrated in low-key black and white visual style. Hollywood’s classical film noir period extended from the early 1940s to the late 1950s. I will be looking at the films use of; mise-en-scene, cinematography (including the use of lighting and camera work), narrative and scoring.
The formalist film theory suggests that film is art and not a reproduction of reality. Unlike realist theorists, formalist film theorists believe that cinema is possible, precisely because a movie is unlike everyday life. Their approach to film emphasises their ability to create story and emotion through manipulation. This is demonstrated by film noir.
Ideologues focus on how socio-economic pressures create particular style. Since formalism is primarily concerned with style and how it communicates the ideas, emotions and themes (rather than the themes of a work itself). In relation to The Maltese Falcon, the socio-economic pressures are highlighted through the mid-century American culture. The film is set in the late 1920s, during this time the division between the wealthiest and the poorest was increasing. This can be seen through the movie’s mise-en-scene, for instance the characters costume. Not only do the costumes effectively convey time and place but also the personality of the characters. The females wear furs, hats and jewellery (mainly pearls), whilst the males wear suits, ties, overcoats and trilbys. This displays that they are from the middle class.
Formalists use lighting less literally, which is why film noir is good example of this film theory. Generally lighting in these films is deep and complicated but is great subject and learning material for the modern cinematic world. Directors use low key three-point lighting called chiaroscuro in the art world. Formalist filmmakers are guided by its symbolic implications and will often stress these qualities by deliberately distorting natural light patterns, such as a face being lighted from below almost making them appear sinister. This is clearly shown during the shot of Kasper Gutman when he is conversing with Spade, even though he has a neutral facial expression the use of the back light in the 3-point lighting gives viewers this subconscious message. The directors use of a low angle shot here can also symbolise and possibly foreshadow that Gutman has dominance or power over Spade. Scenes in the film that can be seen as formalist are the parts where there are shadows in front of the actors faces. For instance, in one of the last scenes of the film, Mrs. O’Shaughnessy’s path towards indictment begins with her entering the elevator in Sam’s apartment building. After she enters the elevator, the bars cast “prison bars” across her face, signalling her eventual imprisonment. By having an obstruction placed in front of a light source (in this example the key light) audiences can assume frightening implications, for it tends to threaten our sense of safety. This is possibly Huston’s reason behind the majority of the film occurring at night, as it is harder for the characters to ‘watch their backs’.
Huston makes use of clever camera angles and long, unbroken takes. This is particular in the scene where Gutman drugs Spade. It's filmed in a way to trick the viewer, who sees the scene through Spade's point-of-view and catch them off-guard. When Spade takes a drink, his vision turns blurry, and he falls over. But watching the scene again, you wonder how you could have missed all the clues—the talking about alcohol, the filling of the glass, etc. Framing is also important in this film. At the start, there is a sense of ambiguity as viewers do not see the killers face, this feeling continues in the following scene as they don’t initially see who’s answering the phone – even though this shortly becomes clear.
Relating to the films narrative, stereotypically in most formalist styled films, the characters are portrayed in a great deal of depth. Huston demonstrates this when shooting The Maltese Falcon, as he filmed the movie in chronological order, allowing the actors to develop their characters during the course of filming and make the plot easier for them to follow. Another stereotypical characteristic is the lack of narrative. This film breaks this convention. On the other hand, one could argue that the storyline is similar in all film noirs of the classical era. This is seen because they all can be described as melodramas, the main character is flawed or morally questionable, they are shot in urban environments and they involve the crime genre.
The score of the film was written by Adolph Deutsch, and was only about 14 minutes long. The music was only used as an emphasis to underscore important scenes, for example when Captain Jacoby delivers the package containing the falcon to Spade there is little dialogue so the music crescendos to compensate and become the prominent sound. In addition to important scenes, the films’ score was also used underneath scene transitions. An example of this is the cross-cut from the sign ‘Spade and Archer’ to the sign ‘Bush Street’ at the start of the movie, which illustrates a change in location. Deutsch’s music can be considered to follow the formalist theory as it mainly relates to the pieces structure and not emotional expression. This is shown through his limited use of character motifs, for example Gutman has his own theme which is titled “Gutman”. Think of Deutsch’s brief tracks as markers to point out important scenes so audiences don’t miss them.
In conclusion, I believe The Maltese Falcon was heavily influenced by socioeconomic pressure of the time and by the formalist theory. This is shown through the directors use of film noir.