One obvious difference when you compare The Maltese Falcon to Chinatown for instance, is the way society has changed. In the latter the detective has a shaky relationship with the police, but they maintain respect and don't cross the line - and in the end the police help him apprehend the suspect - a happy ending for all. In the latter, the police are not only corrupt to the core, but much of everything else is as well - the frustration over which is voiced in the final quote of the film "Forget it, Jake, it's Chinatown".
Differences aside, both eras have produced great films, and The Maltese Falcon is one of the best ever. For a film of it's age the complexity of the plot surprised me, the constant twists and turns in the mystery had my full concentration throughout. Bogart and Astor's screen chemistry was immense. It's seemed she has him wrapped around her little finger for most of the film, even though she was the suspect in the murder of is partner - defiantly one of the most devious and duplicitous femme fatale characters ever. One thing made me giggle were the colorful characters, especially Joel Cairo - a weird little man with an even weirder voice. And of course the 400 pound kingpin behind the whole conspiracy, Kasper 'Gutman'. That is after all, where the strength of such films lies - in the characters. And in this case, they were crafted to perfection. The film oozes style: from the filming, with close-ups and pan zoom shots you wouldn't expect to see, to the cornerstone of all classic noirs, the trench coats and cigarettes. The Maltese Falcon is a cinematic milestone that has whetted my appetite, not only for classic noir, but for films of that era in general.
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