What a colourful poster for a movie whose heart is as black and enamelled as the shiny falcon at its story’s centre. This was one of my favourite movies when I was 11 and I’ve seen no reason since to alter my opinion even if there are times when different elements stand out. It’s now 75 years since it was released and it was immediately appreciated as a masterpiece of the hard-boiled style, yet to be christened film noir (a few years later, in Paris, bien sur). It marked writer John Huston’s directing debut and Humphrey Bogart’s finding an extraordinary avatar in the character of Sam Spade. Dashiell Hammett’s novel had been filmed twice before but this is the Real McCoy, with Huston making very few alterations and giving the ensemble of bizarre characters a chance to shine – the effete Joel Cairo (Peter Lorre) making an admirable sidekick to the Fat Man, Kasper Gutman (Sydney Greenstreet); Wilmer Cook (Elisha Cook Jr) is the perpetually useless hitman and Mary Astor gives it her all as the astonishingly duplicitous femme fatale Ruth Wonderly aka Brigid O’Shaughnessy. Yes it’s all about a caper concerning a black bird but does it matter?! There are so many great scenes but the cinematography (Arthur Edeson) and editing (Thomas Richards) constantly reveal new levels of aesthetics – dontcha love the scene when Sam moves in on Brigid during her confession and the net curtain blows open to reveal Wilmer standing at the ready under the street light down below? Oh! There’s nothing fake about this. I can practically smell the gardenias! Unforgettable.