As I watched the opening credits, I was surprised to see that this Falcon movie was actually based on the Raymond Chandler book "Farewell, My Lovely"--which I'd seen twice before in the forms of MURDER, MY SWEET (1944) and FAREWELL, MY LOVELY (1975). What particularly surprised me about this is that was a originally Philip Marlowe story, NOT a Gay Lawrence (a.k.a. "The Falcon") film. Now Raymond Chandler purists might balk at this, but the film actually compares reasonably well to these later films--even with a leading man who is so unlike the hard-boiled detective, Marlowe. While the settings were "classed up" quite a bit compared to the novel, the overall plot is still there with only a few minor changes (such as at the very end and the disposition of "Velma"). Additionally, Allan Jenkins, Lawrence's lady friend and the cops were integrated into the original plot.
Now if you were going to rate this film, you can't really compare this RKO B-film to the two later higher budget films. The later films are more faithful to the book, but they also have the advantage of being made AFTER Chandler became more famous--and when producers would have never considered getting rid of the Marlowe character. And, while some might be very critical of the lower budget THE FALCON TAKES OVER, if you compare it to other B-detective series films of the day (such as Boston Blackie, Charlie Chan or The Lone Wolf), it is clearly superior--mostly due to the basic foundation laid by Chandler. Plus, George Sanders is his usual affable and suave character--a guy that's hard not to like even if he isn't as jaded and tough as Marlowe.
For lovers of the B-movie genre, this is an exceptional and engaging film--significantly better than the later Tom Conway films in the series. In fact, aside from 'the earlier THE GAY FALCON, it might just be the best in the series.
Now if you were going to rate this film, you can't really compare this RKO B-film to the two later higher budget films. The later films are more faithful to the book, but they also have the advantage of being made AFTER Chandler became more famous--and when producers would have never considered getting rid of the Marlowe character. And, while some might be very critical of the lower budget THE FALCON TAKES OVER, if you compare it to other B-detective series films of the day (such as Boston Blackie, Charlie Chan or The Lone Wolf), it is clearly superior--mostly due to the basic foundation laid by Chandler. Plus, George Sanders is his usual affable and suave character--a guy that's hard not to like even if he isn't as jaded and tough as Marlowe.
For lovers of the B-movie genre, this is an exceptional and engaging film--significantly better than the later Tom Conway films in the series. In fact, aside from 'the earlier THE GAY FALCON, it might just be the best in the series.