Maltese Falcon FAQ 2.06
E.Duggan
Newsgroups: rec.arts.mystery,alt.pulp,alt.cult-movies,rec.arts.movies.past-
films,bit.listserv.cinema-l,rec.arts.books,news.answers
Subject: Maltese Falcon FAQ 2.06
Supersedes: <Maltese Falcon FAQ 2.05b (August 1995)>
Approved: news-answe...@MIT.EDU
Date: October 1995
Expires: 31 December 1995 00:00:00 GMT
Follow-up-To: poster
Organization: Suffolk College -The Big House of Knowledge- Ipswich, UK
Lines: 1140
Archive-name: movies/maltese-falcon-faq
Summary: This file contains information about various versions of
_The Maltese Falcon_ viz. Dashiell Hammett's 1930 novel-text; Roy del
Ruth's 1931 film, _The Maltese Falcon_ (aka _Dangerous Female_);
William Dieterl's 1936 film, _Satan Met A Lady_; John Huston's 1941
film, _The Maltese Falcon_; and David Giler's film 'sequel',
_The Black Bird_ (1975). The file contains an annotated bibliography.
Posting-Frequency: irregularly (ca. quarterly or more often)
Last Modified: October 1995
------------------------------------[cut here]--------------------------
The Maltese Falcon FAQ 2.06
------------------------------
Preliminary Matter
----
How 2.06 differs from 2.05b
--
The credits of the film versions are not necessarliy those from
the _Variety_ movie guide. The credits have been supplemented
with information gleaned from the Internet Movie Database and, in
the case of Huston's 1941 film, taken from the screenplay.
However, following correspondence with Rod Crawford
<"BurkeZoology"@u.washington.edu> , a contributor
to the IMDB, I would advise that the role of Ferbstein, viz. whether
he acted as conductor, compser or arranger, is uncertain, and so
the credits as presented here should be treated with caution.
If anyone can contribute information on the music,I'd be glad to
make appropriate ammendments.
--
[I hope to add appropriate links to the Internet Movie
Database when the FAQ goes into a hypertext version (ED)]
--
Additional entries in the bibliography
--
Two new sections are added:
+ Who were the characters in Hammet's novel based on?
+ Isn't the story of the falcon tribute entirely made up?
------------------------------
Availability
----
The FAQ is now available on the World Wide Web
courtesy of Assistant Professor Jan B. Steffensen <j...@db.dk>,
of The Librarian School, Aalborg, Denmark.
Jan maintains the Mysterious Homepage,
URL: <http://www.db.dk/dbaa/jbs/janbs.htm>
(This really is one for the hotlist [ED])
The FAQ can be accessed (downloaded) directly from
the web as a text file:
<http://www.db.dk.dbaa/jbs/maltfalc.txt>
or as a zip file:
<http://www.db.dk/dbaa/jbs/maltfalc.zip>
--
RTFM.MIT Archive Note:
The FAQ has been approved by the news-answers team at MIT.
However, whenever I post to news.answers two things happen:
first, I get an auomated reply (apparently because I don't have a
'precedence: bulk' line in the main header);
second, the FAQ _never_ appears in news.answers.
If anyone knows what might be going on (or can tell me
what I'm doing wrong) I'd be grateful for advice.
Until I can resolve this, the FAQ won't be available via MIT.
When it _is_ sorted out, the archive name will be:
<ftp://rtfm.mit.edu/news-answers/movies/maltese-falcon-faq>
------------------------------
DISCLAIMER:
----
This article is provided as is without any express
or implied warranties. While every effort has been
taken to ensure the accuracy of the information
contained in this article, the author assumes no
responsibility for errors or omissions, or for
damages resulting from the use of the information
contained herein.
The contents of this article reflect my opinions
only and not necessarily those of my employer.
----------------------------------
The Boring Bit
----
This FAQ isn't really made up of answers to Frequently Asked
Questions. Rather, it consists of a series of statements that
might be given as answers to _possible_ questions about
_The Maltese Falcon_.
Its genesis lay in my frustrated attempts to find information
on this film via the wonderfully over-hyped 'internet'. There
was just nothing available. So in the best 'necessity is the
mother of invention' tradition, I began to write what will
become, I hope, what I would have wanted to have been
able to find originally.
Much of the information contained herein was gleaned
from the sources cited in the bibliography.
I wanted very much to gather information for a course I am
teaching at Suffolk College, Ipswich, UK ('An associate
college of The University of East Anglia', to quote the
Suffolk College notepaper) which features _TMF_, amongst
other films, on its syllabus.
The course is called 'Page to Screen' where it forms part
of the Literary Studies joint honours degree program.
As Suffolk College has, at the time of writing, no internet
connectivity to speak of (there's a 12/75 in the library,
which processes ALL the college's interlibrary loan requests :-#
and a single 486/33 in the Computer Unit [sic] hooked up to
Cityscape via a 144) all my research and endeavours with ftp,
email, elm, usenet, rn listserv subs and, latterly, Minimal FAQ
Requirements, have had to be done at home, in my own time
and at my own expense, without collegiate support.
This file is very much 'work in progress'. Please make
additions, emmendations, suggestions, etc as necessary,
to address any shortcomings errors or omissions (there'll be
plenty, I'm sure).
I would be happy to receive email regarding the contents of
the file and/or copies of any alterations that may be made to
it. Please circulate this file freely. I would prefer that however
this file is used, that the top pieces (The Boring Bit/Disclaimer)
remain intact if/whenever the file is passed on to any third
party or is uploaded to any site in any form.
Eddie Duggan
March 1995
----
email: <E.Du...@uea.ac.uk>
and/or
<1005...@CompuServe.com>
And you _still can't_ get me as: <ej...@suffolk.ac.uk>
------------------------------
CONTENTS
--
<Header>
--
Preliminary Matter
--
How X.xx differs from Y.yy
--
Availability
--
Disclaimer
--
The Boring Bit
--
Contents <ie You are Here>
--
1. Who were the characters in Hammet's novel based on?
--
2. Isn't the story of the falcon tribute entirely made up?
--
3. Is John Huston's 1941 film _The Maltese Falcon_ the
first adaptation of Dashiell Hammett's 1930 novel?
--
4. What has _The Variety Movie Guide_ to say about
the [1931/1936/1941/1975] version?
--
5. What continuities are there between the film versions?
--
6. Who was first choice for the part of Sam Spade?
--
7. Has _The Maltese Falcon_ won any Academy awards?
--
8. Was _The Maltese Falcon_ [Insert Name]'s first film?
--
9. Wilmer is described as a 'gunsel'. What is a 'gunsel'?
--
10. Who was the old guy who stumbled in with the bird?
--
11. Is there anybody who doesn't like _TMF_ or who thinks
it is overrated?
--
12. What're some of the differences between Hammett's novel
and Huston's film?
--
13. Is the script of Huston's _TMF_ available?
--
14. Where's the black bird now?
--
15. Where can I get hold of (a copy of) the Black Bird for myself?
--
16. I've used information from this file in my college
essay on _TMF_. How do I reference it?
--
17. Bibliography / (eof)
------------------------------
1. Who were the characters in Hammet's novel based on?
--
Some of the main characters have clear precursors in earlier Hammett stories.
Some aspects of the characters are based on people in Hammett's own life, drawn
particularly from his experiences as a detective working for the Pinkerton detective
agency. Generally the, the characters in _TMF_ are a mix of the two.
--
Hammett's early fiction:
--
According to William F. Nolan (_Dashiell Hammett: A Life at the Edge_, Arthur
Baker Ltd: London, 1983), the prototype of _TMF_ can be found in two Op*
stories, printed in _The Black Mask_ under Phil Cody's editorship in April and
June 1924. These are, 'The House in Turk Street' and the sequel, 'The Girl with
Silver Eyes'.
*The Op is a fictional detective character of Hammett's who works for The
Continental Detective Agency. Hammett had worked as an 'operative'
(detective) for the Pinkerton Detective Agency before turning to writing due
to ill health. Hammett's Pinkerton days, and The Op stories, provide the
foundations upon which Sam Spade is built.
In 'The House in Turk Street' a band of treacherous crooks try to get the better of
each other. Among them is a female character, Elvira, who will use whatever
devices are available to further her own ends. Here then, is a similar scenario to
the plot of _TMF_ with Elvira surely the forerunner of Bridgid O'Shaugnessy.
Other characters in 'The House in Turk Street' map onto _TMF_: the Chinaman,
Tai, is an early draft of Casper Gutman, while Hook is a prototype for Wilmer. The
Continental Op deals with them a la Sam Spade, securing the treasure which here
is not a jewelled statuette in the shape of a bird but is a cache of bonds.
In the sequel, 'The Girl with Silver Eyes', Elvira attempts to extricate herself from
justice and the Op in a trial run for the closing scene of TMF. Nolan remarks, 'The
implacable Op turns her in to pay for the lives of the men she destroyed. Truth
(and the job) over beauty' (Nolan 1983, pp. 50-51).
Another 'version' of the showdown between the male 'hero' and the treacherous
female can be found in another early Hammett story. The concluding scene of
'The Gutting of Couffignal' (printed in _The Black Mask_ in December 1925)
brings the Continental Op into a verbal showdown with Princess Zhukovski.
The dialogue evokes the exchange between Spade and O'Shaugnessy
at the end of _TMF_:
'I'm a detective because I happen to like the work,' says the Op. 'And liking work
makes you want to do it as well as you can ... That's the fix I'm in [and] catching
crooks is the only kind of sport I know anything about ... You think I'm a man and
you're a woman. That's wrong. I'm a hunter you're something that has been
running in front of me. There's nothing human about it.'
When she tries to get away, he shoots her in the leg.
(Cited in Nolan, 1983 p. 61).
The shooting of Archer is rehearsed in an early Hammett story, featuring The
Continental Op. The story, 'Who Killed Bob Teal?' was published in _True
Detective Stories_ (November 1924) and features the main ingredients of the
Archer shooting: the 'experienced' op, the alley and burns from the close-range
shooting on the dead man's coat.
('Who Killed Bob Teal' is reprinted in _Murder Plus: True Crime Stories from the
Masters of Detective Fiction_ compiled and edited by Marc Gerald, London: Pan,
1992)
----
Sam Spade
--
Sam Spade is partly fiction, partly fantasy and partly autobiographical.
Autobiographically, Spade is a detective and has Hammett's forename,
Sam. Hammett spent several years working as an 'operative' for Pinkerton's
detective agency. While with Pinkertons, Hammett was using his own
original forename, Samuel or Sam. (He only began to use his distinguished
sounding middle-name, Dashiell--French, from his mother's side of the
family--after he had left Pinkerton's and took to writing).
The fantasy elements are evident in Hammett's claim that Spade 'had no
original ... He's a dream man in the sense that he is what most of the
detectives I worked with would liked to have been and what quite a few of
them, in their cockier moments, thought they approached ... a hard and
shifty fellow, able to take care of himself in any situation, able to get the
best of anybody he comes in contact with, whether criminal, innocent
bystander or client' (Hammett, in the Introduction to the 1934 edition of
_TMF_ cited in Nolan, 1983 pp. 90-91).
William F. Nolan remarks that 'Samuel Spade is of course, like the Op,
a direct extension of the author, a man caught up in an unstable universe
of random violence who survives by following a rigid self-imposed code of
honour'. (Nolan 1983, p. 91)
----
Effie Perrine
--
Effie is apparently based upon a cousin of Hammett's, with the same name.
(See Nolan, 1983 p. 90).
----
Miss Wonderly/Bridgid O'Shaugnessy
--
Miss Wonderly, aka Brigid O'Shaugnessy, is based partly upon a secretary
of Hammett's, named Peggy O'Toole and a woman from his Pinkerton
days. Hammett remarks that 'O'Shaugnessy had two originals [one was
O'Toole] the other was a woman who came to PInkertons's to hire [me] to
discharge her housekeeper.' (Hammett, in the Introduction to the 1934
edition of _TMF_ cited in Nolan, 1983 p. 90).
The character type is also evident in a character named Elvira who appears
in an early Hammett story, printed in _The Black Mask_ as 'The House on
Turk Street' and 'The Girl with Silver Eyes'.
----
Joel Cairo
--
Joel Cairo is drawn from Hammett's Pinkerton days: 'The Cairo character
I picked up on a forgery charge in 1920' (Hammett, in the Introduction to
the 1934 edition of _TMF_, cited in Nolan, 1983 p. 90).
----
Wilmer Cook
--
Wilmer Cook: According to Hammett, 'Wilmer, the boy gunman, was
picked up in Stockton, California ... a neat small smooth-faced quiet boy
of perhaps twenty-one. ... He was serenely proud of the name the local
papers gave him--"The Midget Bandit." He had robbed a Stockton filling
station the previous week ...and had been annoyed by the description the
station proprietor had given of him and of by the proprietor's statement of
what he would do to that 'little runt' if he ever laid eyes on him again.
So ... he'd stolen an automobile and returned to stick the guy up again and
see what he wanted to do about it.' (Hammett, in the Introduction to the
1934 edition of _TMF_ cited in Nolan, 1983 p. 90.
NB The ellipses are Nolan's (ED)).
----
Caspar Gutman
--
A character named Leonidas Doucas, described by Nolan (1983, p. 59) as
'a perfumed fat man', appears in the story 'Ruffian's Wife' (published in the
magazine _Sunset_ in 1925).
Hammett recollected, in the Introduction to the 1934 edition of _TMF_ that
Caspar Gutman was based upon 'someone suspected of being a German
secret agent' whom he had shadowed in Washington while working as a
Pinkerton operative.
Hammett had also used the name 'Gutman' for a character in his first
(unfinished) attempt at a novel, entitled 'The Secret Emperor'. Like Caspar
Gutman, Sheth Gutman is a portly villain with a daughter. (See Nolan
1983, p. 72 and p. 90).
-----------------------------
2. Isn't the story of the falcon tribute entirely made up?
--
According to William F. Nolan _Dashiell Hammett: A Life at the
Edge_ (Arthur Baker Ltd: London, 1983) 'the history of the falcon
[... is] partly based on fact. Nolan cites Hammett's recollections
from the introduction of the 1934 edition of the novel:
Hammett: 'Somewhere I had read of the peculiar rental
arrangements between Charles V and the Order of the Hospital
of St John of Jerusalem.'
Nolan remarks that Hammett 'was referring to the agreement of
1530, between the order and Emperor Charles V, under which,
as 'rent' for the island of Malta (then under Spanish rule), the order
would pay Charles an annual tribute of a single falcon. One of
these birds, according to Hammett's fictional account, was 'a
glorious golden falcon, encrusted with from head to foot with the
finest jewels in their coffers.' (Nolan 1983, p. 88).
Nolan goes on to to argue that while 'Hammett reworked fact
to suit his dramatic purposes [t]here was no jewelled bird.
According to Diane Moore, assistant curator of the order, the
presentation each year of a Maltese bird of prey was indeed
"one of the conditions attached to the grant of Malta and Tripoli
made to the Order by Charles V in 1530." But the actual birds
were living ones; the jewelled falcon, with its complex blood
history, is entirely Hammett's invention.' (Nolan 1983, p. 89).
Nolan refers to a recollection by a former Pinkerton colleague
of Hammett's, one Phil Haultain. Citing an 1975 interview with
Haultain [in the magazine City of San Francisco, edited by David
Fechheimer, November 4th (1975)], Haultain states 'I had this
jewelled skull when I knew Sam [...] 'Had it in my apartment.
An uncle of mine, who lived in Calcutta, India, sent it to me.
Had a gory history ... it was taken as loot by a member of the
British Expedition to Lhasa, Tibet--the jewelled skull of a holy
man. I've still got the thing. When The Maltese Falcon
came out, the book rang a lot of bells. (Nolan 1983, p. 89)
--
NB: Richard Layman's _Dashiell Hammett: A Bibliography_ ,
records that the lines 'With a new Introduction by the Author'
appear only in the 1934 edition of the novel.
------------------------------
3. Is John Huston's 1941 film _The Maltese Falcon_ the
first adaptation of Dashiell Hammett's 1930 novel?
--
No. It was the third.
Earlier versions were:
_The Maltese Falcon_ (1931) directed by Roy del Ruth.
Ricardo Cordez played Sam Spade.
Ruth Wonderly was played by Bebe Daniels.
The film is also known as _Dangerous Female_ and was
screened under this title on British TV in 1995.
_Satan Met a Lady_ (1936) directed by William Dieterle.
'Ted Shane' (Sam Spade) was played by Warren William.
In this version, The Fat Man is The Fat Lady (played by
Alison Skipworth).
John Huston's (1941) _The Maltese Falcon_ was followed by
one later version:
_The Black Bird_ (1975) directed by David Giler.
In this 'update', Sam Spade's son is played by George Segal.
Two members of Huston's original cast re-appear:
Lee Patrick (Effie Perrine) and Elisha Cook Jr (Wilmer).
------------------------------
4. What has _The Variety Movie Guide_ to say about
the [1931/1936/1941/1975] version?
--
The Variety Movie Guide:
--
4.1
--
_The Maltese Falcon_
(also known as _Dangerous Female_)
1931, 80 minutes, US.
Director: Roy Del Ruth.
Screenplay: Maude Fulton, Lucien Hubbard, Brown Holmes.
Photography: William Rees.
Production Design/Art Director: Robert M. Haas.
Costume Design: Earl Luick.
Editor: George Marks.
Musical Conductor: Leo F. Forbstein.
--
Cast:
Bebe Daniels (Miss Wonderly),
Ricardo Cortez (Sam Spade),
Dudley Digges (Casper Gutman),
Dwight Fry (Wilmer),
Otto Matiesen (Joel Cairo),
Una Merkel (Effie Perrine),
Robert Elliot (Dundy),
Thelma Todd (Iva Archer)
Walter Long (Archer),
J. Farrell MacDonald (Polhaus),
(Warner Brothers).
--
[NB:
Credits as listed in _Variety_ supplemented by additional
information gleaned from the Internet Movie Database]
--
Bringing _The Maltese Falcon_ to the screen as Warners have done was
no easy job. But director Roy Del Ruth lets things take their course and,
with a naturally nonchalant although extremely odd private detective in
Ricardo Cortez, takes his audience out of the screen story rut for a series
of surprise incidents and a totally different finis.
Although four men are murdered and two corpses revealed to the audience,
the story treatment (from Dashiell Hammett's novel) and the Cortez smile are
such that a quick thrill is permitted, a laugh, and then, through the first 75% of the
footage, additionally interest to well sustained curiosity [sic (ED)].
It can't be called naughty, even though Bebe Daniels as Ruth
Wonderly spends the second night in the elaborate apartment
of the unusual private detective.
The mystery element is so flung about that not until the last reel or so does
the most studious follower know who did any of the killings. Meanwhile a
number of clever gags happen through Sam Spade in disarming people,
then apologising; taking money and then having it taken away from
him; making love one minute turning the girl over to the police the next.
----
4.2
--
_Satan Met A Lady_
1936, 74 minutes, US.
[NB: The Internet Movie Database
states 66 minutes. Perhaps there are
two versions in existence? (ED)]
Director: William Dieterle.
Screenplay: Brown Holmes.
Photography: Arthur Edeson.
Editor: Warren Low.
Music: Leo F. Forbstein.
Art Director: Max Parker.
Costume design: Orry-Kelly.
--
Cast: {NB: I have adopted the following format:
Actor (Character) [Hammett Character where known] (ED)}
Bette Davis (Valerie Purvis) [Miss Wonderly],
Warren William (Ted Shane) [Sam Spade],
Alison Skipworth (Madame Barabbas) [Caspar Gutman],
Arthur Treacher (Anthony Travers),
Winifred Shaw (Astrid Ames) [Iva Archer],
Marie Wilson (Miss Murgatroyd)
Porter Hall (Ames) [Archer]
Olin Howlin (Dunhill)
Charles C. Wilson (Pollock)
Barbara Blane (Babe)
Maynard Holmes (Kenneth)
(Warner Brothers).
--
[NB
Credits as listed in _Variety_ supplemented by additional
information gleaned from the Internet Movie Database]
--
This is an inferior remake of _The Maltese Falcon_, which
Warner produced in 1931.
Many changes have been made (to the novel by Dashiell Hammett),
in story structure as well as title, but none is an improvement
Bette Davis is dropped to featured billing rank in this one, on an equal
basis with Warren William, and both under the title. But as for importance
in the story, Davis has much less to do than at least one other femme
member of the cast.
Where the detective of _Maltese Falcon_ and his activities
were natural and amusing, he and his satiric crime detection
are now forced and unnatural.
Among items changed are the names of the characters as well
as a few of the characters themselves. Sam Spade, played by
Ricardo Cortez in the original, is now Ted Shane as played
by Warren William. The plaster bird is now a ram's horn.
There's hardly any mystery in this version. The comedy
isn't strong enough to fill the bill.
Williams trys hard to be gay as the eccentric private cop
and his performance is all that keeps the picture moving in
many lagging moments. Marie Wilson has a tendency to
muff her best chances through overstressing.
----
4.3
--
_The Maltese Falcon_
1941, 100 minutes, US.
Director: John Huston.
Assistant Director: Claude Archer.
Exectutive Producer: Hal B. Wallis.
Associate Producer: Henry Blanke.
Screenplay: John Huston.
Photography: Arthur Edeson.
Editor: Thomas Richards.
Music: Adolph Deutsch.
Art Director: Robert Haas.
Dialogue Director: Robert Foulk.
Gowns by Orry-Kelly.
Makeup: Perc Westmore.
Sound Recordist:Oliver S. Garretson.
Orchestration: Arthur Lange.
--
Cast:
Humphrey Bogart (Sam Spade),
Mary Astor (Bridgid O'Shaugnessy),
Lee Patrick (Effie Perrine),
Sydney Greenstreet (Casper Gutman),
Peter Lorre (Joel Cairo),
Elisha Cook Jr (Wilmer Cook),
Gladys George (Iva Archer),
Barton MacLane (Lt Dundy),
Ward Bond (Tom Polhaus),
Jerome Cowan (Miles Archer)
James Burke (Luke, the hotel detective)
John Hamilton (DA Bryan)
Emory Parnell (Mate of 'La Paloma')
Walter Huston (Captain Jacobi)
(Warner Brothers).
--
[NB Credits as listed in _Variety_ supplemented by
additional information gleaned from Huston's screenplay]
--
This is one of the best examples of actionful and
suspenseful melodramatic story-telling in cinematic form.
Unfolding a most intriguing and entertaining murder mystery,
picture displays outstanding excellence in writing,
direction, acting and editing.
John Huston, makes his debut as a film director. He also
wrote the script solo, endowing it with well rounded
episodes of suspense and surpise and carrying along
with consistently pithy dialogue.
Humphrey Bogart gives an attention-arresting portrayal that
not only dominates proceedings throughout but is the major
motivation in all but a few minor scenes. Mary Astor skill-
fully etches the role of an adventuress. Sydney Greenstreet,
prominent member of the Lunt-Fontaine stage troupe, scores
heavily in his first screen appearance.
Story in Dashiell Hammett's best style details the
experience of private detective Bogart when called in to
handle a case for Astor -- shortly finding himself in the
middle of double-crossing intrigue and several murders
perpetrated by strange characters bent on obtaining
possession of the famed bejeweled Maltese Falcon.
Keeping just within bounds of the law, and utilising
sparkling ingenuity in gathering up the loose ends and
finally piecing them together, Bogart is able to solve the
series of crimes for the benefit of the police.
1942: Best Picture (Nomination)
----
4.4
--
_The Black Bird_
1975,
98 minutes, US.
Director: David Giler.
Producer: Michael Levee.
Screenplay: David Giler.
Photography: Philip Lathrop.
Editors: Margaret Booth, Walter Thompson, Lou Lombardo.
Music: Jerry Fielding.
Art Director: Harry Horner.
--
Cast:
George Segal (Sam Spade Jr),
Stephane Andran (Kemidov's Daughter)
Lionel Stander (?),
Lee Patrick (Effie Perrine),
Elisha Cook Jr (Wilmer),
Felix Silla (?).
(Columbia/Rastar).
--
[NB: Credits are as listed in _Variety_
Where I know the parts played, these have been indicated in parentheses
to be consistent with the other film credits listed above. Where the roles
are unknown I have indicated this with a question mark.]
--
This satirical contemporary update of Dashiell Hammett's
novel _The Maltese Falcon_ emerges as fair whimsy.
Basis of the plot (from a story by Don M. Mankiewitz and
Gordon Cotler) is that George Segal, as Sam Spade's son,
has inherited the detective agency, still in its old location,
but now a rundown black neighbourhood. Lee Patrick
[ie Huston's original Effie (ED)] in a delightful recasting
as Effie, the secretary, hangs in there, partly because she
hasn't been paid in years, and despite an animosity towards
Segal. The search for the elusive Maltese Falcon is
reinstated, bringing in all sorts of mysterious characters.
The general tenor of the film shows a sentimental empathy
for the original material with no heartless put-downs
marring the work. There are lots of smiles, many chuckles,
and a few strong laughs.
------------------------------
5. What continuities exist between the film versions?
--
Warner Brothers
--
The first three films are all Warner productions.
----
Titles
--
The title of the 1936 version is _Satan met a Lady_ Although the 1931 and
1941 version share the same title as Hammett's story, each has (or nearly has)
a different title: The 1931 film has the alternative title _Dangerous Female_
The 1941 version was going to be called _The Gent From 'Frisco_,
but Huston persuaded Warner that the title was a 'dog'.
Hal B. Wallis, producer of the '41 version, is also credited
with persuading Warner to drop the proposed title in favour of
_The Maltese Falcon_
----
Sequels
--
Warner Brothers made some noises about 'a sequel' shortly after
the initial critical success of the 1941 release, to be called
_The Further Adventures of the Maltese Falcon_ which Huston would
make with the 1941 cast, but this projected film never materialised.
[see William F. Nolan, _Dashiell Hammett: A Casebook_
(Santa Barbara: MacNally & Loftin, 1969) page 104.]
Elisha Cook Jr and Lee Patrick (Wilmer Cook and Effie Perrine,
respectively in 1941) play the same roles in David Giler's 1975
'sequel', _The Black Bird_.
---
Technical Credits
--
Leo F. Forbstein is credited as 'musical conductor' in 1931 and
with 'music' in 1936.
Brown Holmes co-wrote the 1931 screenplay and has a solo
credit for screenplay of the 1936 film.
Arthur Edeson is the cinematographer for both the
1936 and 1941 films.
Robert Haas is credited as Art Director in both
1931 and 1941.
Orry-Kelly is credited with 'Costume Design' in 1936
and 'Gowns' in 1941.
------------------------------
6. Who was first choice for the part of Sam Spade?
--
George Raft was on Warner's books (he had turned down _High
Sierra_ because he didn't want to die at the end) and was
originally offered the part.
He apparently turned it down because he didn't want to be
directed by newbie director John Huston, who cut his
directorial teeth on _TMF_.
Arguably, the film 'made' the careers of Huston, Bogart and
the Peter Lorre/Sydney Greenstreet partnership.
-----------------------------
7. Has Huston's _The Maltese Falcon_ won any Academy Awards?
I didn't think so (or rather, not according to my copy of
_The Timetables of History_).
However, _TMF_ was nominated for best film in 1942
(See _Variety_ review, above).
----
Mary Astor won Best Supporting Actress in 1941, but this
was for her role in _The Great Lie_.
----
According to Richard Anobile (Anobile, ed., (1974: p. 5) see Bibliography
17.2), Sydney Greenstreet 'was nominated for an Academy Award for
his performance' as Casper Gutman.
While Anobile doesn't say which category of Award Sydney
Greenstreet was actually nominated for, FAQ reader
Ken Yousten contributes:
>"Inside Oscar" says it was Best Supporting Actor.
>Also it mentions a nomination to John Huston for writing
>(screenplay) in addition to the one for Best Picture.
<kyou...@bev.net>
------------------------------
8. Was _The Maltese Falcon_ [Insert Name]'s first film?
_TMF_ was John Huston's first film as director.
Warner Brothers had the rights to Hammett's novel (Warner Bros
had William Dieterle make a version a few years previously)
and the studio agreed to let Huston try his hand.
Note in the credits (see above) that Arthur Edeson
was responsible for photography on both Dieterl's
1936 version and on Huston's 1941 version (look out for Edeson
again on the credits of _Casablanca_ (1943)).
The film was a great success and established Huston as a
director.
The reason George Raft turned down the part of Sam Spade
was because he didn't want to appear in a film under the
direction of untried newby Huston.
----
_TMF_ was Sydney Greenstreet's first cinema role. Though he
made his screen debut at the age of 61, he was no newcomer
to acting. English-born Greenstreet was a seasoned trouper,
having worked in theatre for 40 years.
----
_TMF_ launched the screen partnership of Sydney Greenstreeet
and Peter Lorre. They appear together again in _Background
to Danger_ (d. Raoul Walsh, 1943); _Passage to Marseilles_
(d. Michael Curtiz, 1943); _Casablanca_ (d. Micharl Curtiz,
1943), _The Mask of Dimitrios_ (d. Jean Negulesco, 1944)
and _Three Strangers_ (1945).
----
The main members of the cast of _TMF_, with the exception
of Peter Lorre (ie Bogart, Astor, Greentsteet), reassembled
for Huston's next film, _Across the Pacific_ (1942).
Peter Lorre teams up with Robert Morley--a Greenstreet
'type'--in Huston's _Beat the Devil_ (1954).
-----------------------------
9. Wilmer is described as a 'gunsel'. What is a 'gunsel'?
Wilmer, played by Elisha Cook Jr, is Casper Gutman's rather
unsuccessful 'body guard'. Gutman describes Wilmer as being
'like a son to me.'
The term 'gunsel' is slang for both 'gunman' and boy
homosexual. The ambiguity of the term was such that it
got past the Hays Office.
(Cf the BBC and The Beatles' _Good Golly Miss Molly_:
'Good golly Miss Molly, She sure likes to ball' . Had the BBC been
aware of the ambiguity (as a verb--American slang--it means 'fuck'
as well as 'party' or 'dance') the record would not have received airplay.)
There are slight suggestions in the film that there may be
a homosexual relationship between Wilmer and Cairo.
---
The term 'gunsel' is still around: James Ellroy uses it,
with the meaning 'homosexual' quite explicit, in his 1988
novel _The Big Nowhere_ The novel is set in LA in 1950.
Chapter 3
'[...] Fix Lucy up with a nice place to stay, somewhere where
the Greek can't find her.
Make it a mitzvah'.
Cohen took his hand from the table, shook it free of glass slivers
and licked lemon goo off his fingers. 'Who was in it besides
the Greek?'
Buzz showed him his eyes, the loyal henchman who'd never lie;
he came up with two gunsels he'd ran out of town for crashing
Lew the Jew Wershow's handbook at Paramount. 'Bruno Geyer
and Steve Katzenbach. Fairies. You gonna find Lucy a place?'
p. 36, Arrow Books,
GQ Edition, London 1994.
------------------------------
10. Who was the old guy who stumbled in with the bird?
--
Captain Jacobi, the captain of La Paloma, stumbles dying
into Spade's office toward the end of the film. He is
carrying a bundle wrapped in newspaper. The bundle is, of
course, the 'rara avis'.
The actor playing Jacobi, who doesn't get a screen credit,
is John Huston's father, Walter Huston.
------------------------------
11. Is there anybody who doesn't like _TMF_ or who thinks
it is overrated?
--
Yup--John Wayne.
John Wayne claimed Huston was overrated.
In Wayne's biography, _Shooting Star_, he says he can't
think of one good picture Huston has directed.
Wayne's biographer Maurice Zolotow cites _TMF_
and _Treasure of the Sierra Madre_ to which
Wayne replies, in Zolotow's words:
'Duke [ie Wayne] insisted--with no basis except the
fact thathe disliked Huston and felt that he had
been artistically mistreated by him [ie Huston
directed him too 'slowly' for Wayne's liking in _The
Barbarian and the Geisha_ (C20th Fox, 1958)]--that
these pictures had succeded because of Huston's
father, because Walter Huston had been in both these
films and had assisted his son. So I said what about
_The Asphalt Jungle_? And Duke changed the subject'.
Cited in Stuart Kaminsky, _John Huston: Maker of Magic_
(Angus and Robertson: London, 1978) pp. 116-117.
----
The American film critic Andrew Sarris claims (in _The
American Cinema_) that Huston's films 'owe more to
casting coups than directorial acumen'.
Sarris goes on to argue '_Falcon_ particularly, is an
uncanny match up of Dashiell Hammett's literary characters
with their visual doubles'.
[Sarris is cited in Beja, _Film & Literature_ p. 133].
If Sarris can claim an 'uncanny match up' between the
characters in the film and the way they are described in
the novel, he is either using 'uncanny match up' in a
new and interesting way, or has read a different version
of Hammett's _TMF_, or he is mistaken.
Dashiell Hammett: _The Maltese Falcon_
Chapter One: Spade and Archer
Samuel Spade's jaw was long and bony, his chin a
jutting v under the more flexible v of his mouth.
His nostrils curved back to make another, smaller v.
His yellow-grey eyes were horizontal. The v motif
was picked out again by thickish brows rising
outward from twin creases above a hooked nose,
and his pale brown hair grew down---from high flat
temples---in a point on his forehead. He looked
rather pleasantly like a blond Satan.
Is _this_ Humphrey Bogart?
------------------------------
12. What're some of the differences between Hammett's
novel and Huston's film?
Well, the film is _very_ close to the book (wait for _TMF_
FAQ 2.10) but there are some alterations.
(See also Section xx for a discussion of the screenplay,
and some of the ways in which it differs from both the
novel _and_ the film.)
----
Gutman's daughter, Rhea, is omitted from the film.
----
Huston leaves out the 'Flitcraft episode'.
----
In the novel, Spade sleeps with Wonderly/O'Shaugnessy,
in Chapter Nine/Ten, after
she him asks in Chapter Six,
'Can I buy you with my body'
(Chapter Six: 'The Undersized Shadow'
[...]
'Can I buy you with my body?'
Their faces were a few inches apart.
Spade took her face between his hands
and kissed her mouth roughly and con-
temptuously. Then he sat back and said
'I'll think it over'. His face was
hard and furious.
[...]
Chapter Nine: 'Brigid'
[...]
She put her hands up to Spade's cheeks,
put her open mouth
hard against his mouth,
her body flat against his body.
Spade's arms went around her, holding her
to him, muscles bulging his blue sleeves,
a hand cradling her head, its fingers
half lost among red hair, a hand moving groping
fingers over her slim back. His eyes
burned yellowly.
Chapter Ten: 'The Belvedere Divan'
Beginning day had reduced night to a thin smokiness
when Spade sat up. At his side Brigid O'Shaugnessy's
soft breathing had the regularity of utter sleep.
Spade was quiet leaving bed and bedroom and shutting
the bedroom door. He dressed in the bathroom. Then
he examined the sleeping girl's clothes, took a flat
brass key from the pocket of her coat, and went out.)
After sleeping with Brigid, Spade slips away to search
her apartment, returning before she awakes.
Later she tells Spade her apartment has been rifled.
In Huston's film, the words spoken by Wonderly in Chapter
Six are rephrased 'what else is there I can buy you with?'.
Later, as Spade kisses Brigid as a prelude to their sexual
encounter, Wilmer is visible in the street below. The scene
fades. We do not see Spade leave to search Wonderly's
apartment. Later, however, although the search has apparently
not happened, Wonderly still informs Spade that someone has
searched her rooms.
(It is not known if Huston shot the scene as written in the
novel--it certainly isn't in Huston's screenplay [see the
bibliography, 17.2]--and the search scene was simply not
included in the final print.
However, as there is _no_ evidence to suggest the scene
_was_ shot, we must assume that it was not.)
----
There is some suggestion of Cairo's homosexuality in the
novel--eg the chypre-scented calling card, the description
of his hands and his 'mincing' gait. This is somewhat
played down in the film, though the scented calling card
(now gardenia) is still in evidence, together with a 'look'
that passes between Spade and Effie. Cairo is coded musically
on his entrance as a flamboyant and less-than-serious character.
In the novel, Spade and Luke (the House Detective at the
Hotel Belvedere) refer to Cairo as 'the fairy'.
In both novel and film, Cairo is treated as something of a
'joke' character, rather ineffectual in his attempt to hold
up Spade (he appears to succeed due to Spade's good
grace or indulgence) and he is overly concerned with his
appearance and dress.
Perhaps this is a way of playing out a homophobic tendency
in American cultural forms
at different times (ie the novel in the inter-war years,
the film in the later stages of WWII). Spade, the dogged,
masculine, heterosexual male, who is not beyond the
reach of a little corruption and graft, has nothing to fear
intellectually, physically or otherwise from the small,
effeminate Levantine.
What, I wonder, would be the effect if through a quirk of
casting, Spade had been played by Peter Lorre, and Cairo
by Humphrey Bogart? Can you imagine Lorre telling
Bogart 'When you're slapped you'll take it and like it'?
----
Gutman is actually killed by Wilmer at the end of the novel
while Huston allows the trio to waddle off toward a sequel.
The film's success led Warner's to suggest Huston and the
cast reform for a sequel. The projected _Maltese Falcon 2_
never happened, however (it is just the stuff dreams are made of).
------------------------------
13. Is the script of Huston's _TMF_ available?
Yes.
See the bibliography (17.2) for details.
For an accurate rendition of the dialogue, however,
the best source is Richard J. Anobile's 'edition' of
the film in book format. This presents the words as
spoken by the cast which, in fact, differ from the
dialogue contained in the screenplay.
It is interesting to note that, in comparing the
dialogue of Huston's screenplay to the film itself,
Sydney Greenstreet's delivery of Casper Gutman's lines
is much closer to the screenplay than is the delivery of
any other member of the cast--he is practically word
perfect. The others tend to paraphrase or miss out sections.
The screenplay has also been re-worked somewhat in the
shooting and editing process: for example, the cut-away
to the shooting of Archer does not feature in the screen
play at all.
Other pieces of dialogue are rearranged (eg Spade's
telephone call to Effie after he has been informed of
the fatal shooting of Archer) or are cut out (eg
Miss Wonderly's lines in the opening scene).
I would suggest that despite these omissions, the film
and characterisation are not altered in a profoundly
meaningful way. In fact, the film benefits from the
tighter dialogue.
The screenplay isn't quite as disparate (in terms of
locations used, places Spade goes to) as Hammett's novel,
though John Huston and/or the film editor, Thomas
Richards, have tightened up the plot _and_ added to the
pace of the film in having things happen more fluently.
For example, in the novel, after being drugged by
Gutman, Spade recovers returns to his office at 06:00
where he finds Effie. He tells her the history of
the falcon and then sends her to check the story as
best she can with her brother, a historian at UC Berkeley.
Brigid is missing from her apartment, Gutman and
Wilmer are absent from the Alexandria. Spade then goes to
the Hotel Belvedere, where he and Luke (the House Dick) search
Cairo's room. Spade finds a newspaper with a piece missing
and most of the missing piece (which gives the times of ship
arrivals) is found in the waste bin.
Spade obtains a back issue from the newspaper office.
In the film, Spade recovers from the drug, washes his
face, calls Effie to discover Brigid is missing, and
then, after a brief seaarch, he discovers the newspaper
in Gutman's room. The newspaper has the time of
La Paloma's arrival conveniently ringed in thick pen.
The screenplay has Spade recover, wash, carry out a
'completely methodical' search, return to his own
office--where he finds Effie, sleeping, who reveals
Brigid has gone missing--then he goes on to the Hotel
Belvedere where he and Luke, the House Detective,
search Cairo's room. Spade finds a newspaper in
the bin with the Shipping News torn out. He compares
the torn paper with the copy of the _Express_ that Luke
just happens to have in his pocket to discover the arrival
time of La Paloma.
------------------------------
14. Where's the black bird now?
--
According to a report in _The San Francisco Chronicle_
(an electronic newspaper) Tuesday 4/4/95 page A16, the
Black Bird has finally gone back to roost in San
Franciso, site of the novel and film.
The leaden statuette emerged from obscurity to be purchased
at auction by New York jewellers The House of Harry Winston,
for $398,500--considerably more than Casper Gutman thought
'the dingus' to be worth--in March, 1995.
According to Carl Nolte's report in the _SF Chronicle_
the bird will appear on display during April 1995 at
John's Grill, an SF eatery frequented by Hammett in
his Pinkerton days. (The owners of the diner bid
unsuccessfully at the auction.)
The display forms part of a fund-raising charity event.
Apparently the 'centre-piece' of the event is a ten-foot
high replica of the statuette.
--
[I hope to be able to gain permission to include
the full text of Nolte's brief article
in a later version of the FAQ (ED)]
--
FAQ reader Tim Gowen <T.G...@uea.ac.uk> thinks that the dingus
may be in, or may have made an appearance in, London.
Tim recollects that the Planet Hollywood (a posh London Cafe
near Leicester Square) had on display along with other sundry film
memorabilia arranged for the amusement of its diners on its opening
in 1993 ... the rara avis.
Is The Bird still there (in which case, there are two dingusses/dingi)?
Or is this the same bird which was purchased by the SF jeweller,
The House of Harry Winston.
[It is hoped that more information will be available for a later FAQ]
------------------------------
15. Where can I get hold of (a copy of) the bird?
--
I found the following while trawling the Newsgroups:
---
Newsgroup: rec.arts.movies.past-films
Subject: Maltese Falcon statue wanted
In article [snip] nobody@nowhere wrote:
>Greetings
>Anybody know where I could purchase such an item?
>I don't have any info on the manufacturer or when/
>how many were made.
>If anyone has any ideas on where I could find one
>(a shop specialising in movie collectables?)
>Please respond or email me [snip]
We got ours at the San Franciso Mystery Bookstore.
Leslie
----
I'd be interested to include any follow-up to this from
FAQ readers (mail order address, email/telephone/fax details,
price of the dingus, type of service [good/bad/indifferent],
overseas availability, etc., etc.) [ED]
------------------------------
16. I've used information from this file in my college
essay on _TMF_. How do I reference it?
In your bibliography, you should include an entry
something like this:
E. J. M. Duggan, The Maltese Falcon FAQ 2.06 (month/year of the FAQ)
<URL: ie the place you got the FAQ from> (unpublished internet file).
Note: This FAQ is not 'published' in the proper sense of the term.
This means that the title should not be italicised or underlined,
but simply typed 'as is', with the information that you are referencing
unpublished material given in brackets, in the form suggested above.
As there is no publisher, you should cite the URL between '< >'s
(so that references might be followed up by others). You should also
provide the latest month/year (look at the 'last modified' line in
the header) to avoid confusion between versions.
The FAQ is not paginated, so you cannot refer to page numbers.
It is arranged by section however (which does tend to change from
version to version) so you may refer to specific parts of the FAQ by
section number.
--
If in the body of your work you refer to material I've included here,
you should use the form
'[whatever it is] cited in The Maltese Falcon FAQ'.
--
If you use _my_ words (or my ideas) you should indicate it something
like this:
'... as suggested by E. J. M. Duggan (Maltese Falcon FAQ)'
or devise a method which is appropriate to the department or discipline
in which you are working.
--
NB: The information in this section may be seen as a provisional
and may be confirmed (or contradicted!) by the new edition of the
Chicago Style Manual which, I believe, contains examples of ways in
which references to electronic materials should be presented.
------------------------------
17. Bibliography
[The bibliography is arranged in sections to make it more useful.
I would be pleased to receive contributions in the form of full
bibliographic references, preferably annotated, which adhere to
a recognised academic format (preferably MHRA though Chicago or
Harvard will do at a pinch) for inclusion in this section.]
--
17.1 Hammett's Novel
(including general works on Hammett which contain material on _TMF_)
--
17.2 Huston's Film
(includes general material as well as film-specific material)
--
17.3 Hammett/Huston
(ie specifically both, though much of 17.1 and 17.2 will
inevitably refer to both novel and film)
--
17.4 Related material
(may be specific references to novel and/or film, or may deal
with a related theme: eg noir/masculinity/detective genre etc.
This cannot be exhaustive, unless someone wants to expand
this material into an FAQ in its own right)
----
17.1 Hammett's Novel
Dennis Dooley, _Dashiell Hammett_ Recognitions (Frederick Ungar:
New York, 1984).
Dashiell Hammett, _Four Great Novels: *The Dain Curse*; *The Glass
Key*; *The Maltese Falcon*; *Red Harvest*_ (Pan: London, 1982).
[NB As a single volume edition, _TMF_ is out of print in the UK at
the time of writing. It is only available in the above collection.]
Stephen Jenkins, 'Dashiell Hammett and Film Noir', _Monthly
Film Bulletin_ 49, November 1982.
Richard Layman, _Dashiell Hammett: A descriptive Bibliography_
Pittsburgh series in bibliography (University of Pittsburgh Press:
Pittsburgh; Feffer and Simons: London, 1979).
[Layman's work is for the true Hammett bibliophile: it contains detailed
bibliographic descriptions of the Hammett corpus and ephemera (ED)].
Richard Layman, _Shadow man: the life of Dashiell Hammett_ (Junction
Books: London, 1981).
E. H. Mundell, _A list of the original appearances of Dashiell
Hammett's magazine work_ The serif series: Bibliographies and
checklists; no. 13 (Kent State University Press: Ohio, 1968).
William F. Nolan, _Dashiell Hammett: a casebook_ (McNally & Loftin:
Santa Barbara, Calif., 1969).
[Nolan's book contains a list of Hammett's work in various media (ED)].
William F. Nolan, _Dashiell Hammett: A Life at the Edge_
(Arthur Barker Ltd: London, 1983).
[NB 'The stuff that dreams are made of' pp 86-96 (ED).]
William F. Nolan, _The Black Mask Boys: Masters in the Hard-Boiled
School of Detective Fiction_ (William Morrow & Co Inc: NY, 1985).
[NB 'Behind the Mask: Dashiell Hammett' pp. 75-93 (ED).]
Paul Skenazy, _The new Wild West: the urban mysteries of Dashiell
Hammett and Raymond Chandler_ Boise State University western writers
series; no. 54 (Boise State University: Boise, Idaho, 1982).
Robert E. Skinner, _The hard-boiled explicator: a guide to the study
of Dashiell Hammett, Raymond Chandler and Ross Macdonald_ (London:
Scarecrow; New Jersey: Metuchen, 1985).
[History and criticism of detective and mystery stories.
Contains bibliographies on each of the three authors (ED)].
Julian Symonds,_Bloody Murder_ second edition (Pan, 1992).
[Symonds' Chapter 10 'American Revolution' (pp. 153-164) deals
with Chandler, Hammett, et al. See below, 17.4 (ED)].
Peter Wolfe, _Beams falling: the art of Dashiell Hammett_
(Bowling Green University Popular Press: Bowling Green, Ohio, 1980).
----
17.2 Huston's Film
Gideon Bachman, 'Interview with John Huston', _Film Quarterly_
19, Fall (1965) 3-13.
John Huston,_An Open Book_ (Knopf: NY, 1980)
[Huston's autobiography: _TMF_ pp. 78ff. (ED)].
John Huston, "The Maltese Falcon, from the novel by Dashiell
Hammett: Screen Play by John Huston" no publisher, no date.
[Available as a photocopy of Lee Patrick's script, priced at uk#18.00,
from:
Hollywood Scripts,
Enterprise House,
Cathles Road,
London SW12 9LD
UK.
Tel +44 (0)181-673 3192
+44 (0)181-675 5758
Fax +44 (0)181-675 1432]
Stuart Kaminsky, _John Huston: Maker of Magic_ (Angus & Robertson:
London, 1978).
[NB Ch. 3 'The Bird' pp. 19-26 (ED)].
John Huston, _The Maltese Falcon_, edited by Richard J. Anobile,
(Avon: New York, 1974).
[Stills and dialogue of Huston's film--over 1400 frames (ED)].
_The Movie: the Illustrated History of the Cinema_ 29
Orbis Publishing (1980).
[NB this is a partwork, not _Movie_ the journal of film criticism (ED)].
----
17.3 Hammett/Huston
Leslie H. Abramson, 'Two Birds of a Feather: Hammett's and Huston's
_The Maltese Falcon_', _Literature/Film Quarterly_ 16 (1988) 112-118.
Maurice Beja, _Film and Literature: an introduction_
(Longman: New York, 1979).
Hans Koningsberger, 'From Book to Film -- via John Huston'
_Film Quarterly_ (Spring) 1969.
James Naremore, 'John Huston and _The Maltese Falcon_',
_Literature/Film Quarterly_ 1 July (1973) 239-249.
John Tuska, _The Detective in Hollywood_ (Doubleday: New York, 1982).
[Chapters on the films of _The Maltese Falcon_ and _The Thin Man_ (ED)].
----
17.4 Related material
Raymond Chandler, _The Simple Art of Murder_ (Ballantine: NY, 1972).
[This Chandler item is apparently unobtainable by British Library
in the UK, as I learned after submitting an Inter-Library Loan
request via Suffolk College Library. Chandler's essay, entitled
'The Simple Art of Murder' (there are apparently several 'versions'
as the essay was published many times) is included in _Raymond
Chandler Speaking_ edited by Dorothy Gardiner, and is also reprinted
in the collection _Pearls are a nuisance_ London: Penguin (ED)].
William K. Everson, _The Detective in Film_ (Citadel: Seacaucus, NJ, 1972).
Frank Krutnik, _In a Lonely Street: film noir, genre, masculinity_
(Routledge: London & NY 1991).
[NB Krutnik's Ch. 7 'The Tough Investigative Thriller', 92-124 and _passim_].
Julian Symonds, _Bloody Murder: from the Detective Story to the
Crime Novel: A History_ second (revised) edition, with further
revisions and postscript, (Pan: London, 1994).
[Pedantic Bibliographical Note: Although this edition of Symonds' book
bears the declaration 'third edition' in the Preface, the bibliographical
detail above (ie 'revised, further revised and with a new postscript')
is taken from the title page, whereon it is stated that the second
edition of the book has undergone further revision.
As there is, to my knowledge, not yet an FAQ on bibliography, I would
recommend Philip Gaskell, _A New Introduction to Bibliography_
(Clarendon Press: Oxford, 1972) pp. 313ff.]
--------------------------[END OF FILE]
+===========================================================================+
| <E.Du...@uea.ac.uk> |
| * T H E B I G H O U S E O F K N O W L E D G E * |
| Suffolk College, Rope Walk, Ipswich, Suffolk IP4 1LT UK +44(0)1473 296673 |