betray those around him, including having an affair with his business partner's wife, paints him as morally ambiguous. Despite his frequent flirtations with illegality, Spade maintains a strategic relationship with his lawyer to gauge how far he can push boundaries. His skepticism extends to his romantic entanglements, as seen in his immediate distrust of Brigid O’Shaughnessy when the coveted Maltese Falcon turns out to be a forgery, a suspicion rooted in his pragmatic approach to relationships. Hammett introduces Spade's morally gray nature from the start, likening him to "a blond Satan."

However, the narrative complexity deepens as Spade ultimately reveals to Brigid that his moral ambiguity serves as a ploy to ensnare criminals, thereby highlighting the novel's simultaneous critique and reinforcement of heroic ideals. By choosing integrity over wealth and romantic entanglement, Spade embodies a paradoxical form of heroism that both mocks and upholds traditional values.

The titular Maltese Falcon operates as more than just a plot device; it serves as a powerful metaphor representing the characters' deepest motivations and desires. Described as an invaluable, jewel-encrusted artifact, the Falcon is never truly seen but remains the driving force of the story. It symbolizes Gutman's obsession, Cairo's greed, O’Shaughnessy's duplicity, and Spade's relentless curiosity. This metaphorical significance echoes Alfred Hitchcock's concept of the "MacGuffin," an object that, regardless of its intrinsic value, becomes pivotal as a representation of the characters' internal struggles and ambitions.

Hammett's narrative prowess is further exemplified by his innovative use of perspective. Breaking away from the idolatrous first-person narration of traditional detective stories, Hammett adopts a more objective third-person view in The Maltese Falcon, allowing for a more nuanced and multifaceted portrayal of deceit and illusion as dominant themes. This stylistic choice aligns him with literary contemporaries like Ernest Hemingway, known for their succinct prose and lack of narrative commentary. Debate continues over the influence shared between Hammett and Hemingway, yet it is undeniable that Hammett's departure from gratuitous violence in favor of exploring the subtleties of human deception marks a significant evolution in his writing.

Despite the acclaim for The Maltese Falcon as possibly Hammett's best work, it also serves as a poignant reminder of the literary potential he left untapped, constrained by financial pressures and the demands of Hollywood. Hammett's ability to weave intricate character studies and compelling metaphors within the framework of detective fiction cements his legacy as a pioneer of the genre, even as it hints at the broader literary achievements that might have been.

In The Maltese Falcon, the bustling city of San Francisco serves as more than just a backdrop; it is a character in its own right, steeped in corruption and intrigue. The narrative, primarily set within this Californian port city, reflects the murky moral landscape traversed by the protagonist, Sam Spade. As the story unfolds, various locations within the city reveal their own unique facets of danger, deception, and occasional sanctuary—each contributing to the novel’s exploration of human nature and societal darkness.

San Francisco

San Francisco, a port city known for its historical vibrancy, becomes a labyrinth of moral ambiguity and shadow in the novel. Here, detective Sam Spade maneuvers through a world where, he claims, most things can be "bought or taken." Spade's frequent references to the city as his "burg" underline the intimate, yet gritty, relationship he maintains with his surroundings. The nocturnal events dominating the storyline cast the city in perpetual twilight, enhancing the themes of moral decay and hidden dangers lurking within its confines.

Spade’s Apartment

Situated on Post Street, Spade’s apartment is a microcosm of the novel’s tension between safety and peril. Despite its well-appointed bachelor decor, the apartment is no refuge from the chaos that surrounds Spade’s life. It is here that he receives the devastating news of his partner’s death and endures police harassment. The intrusion of violence into this personal space is marked by a conflict between Brigid O’Shaughnessy and Joel Cairo, underscoring the apartment’s role as a stage for the personal and professional dramas that unfold.

Spade’s Office

On Sutter Street lies Spade's private detective office, which serves as the setting for many daytime scenes in the novel. This setting, more public and business-like, suggests a veneer of legitimacy and morality contrasting with the shadowy events elsewhere. Effie Perine, Spade’s steadfast secretary, embodies this sense of uprightness and is consistently associated with the office. The space is divided into an outer room for Effie and an inner room once shared with his deceased partner, Miles Archer, highlighting the personal loss shadowing Spade’s professional life.

Coronet Hotel

The Coronet Hotel, located on California Street, becomes part of Brigid O’Shaughnessy’s attempt to evade danger, following the ransacking of her previous lodgings at the St. Mark's Hotel. Yet, the Coronet offers no true sanctuary, as her room here is also searched, illustrating the precariousness of safety in this treacherous version of San Francisco. The hotel represents a transient safe haven, easily penetrated by the deceitful forces at play.

Archer’s Murder Spot

On Bush Street, near the borders of Chinatown—a place often portrayed in the novel as duplicitous—lies the scene of Miles Archer's murder. This location is shrouded in darkness and loneliness, reinforcing the atmosphere of menace that pervades the story. Archer’s death, occurring during his surveillance of Floyd Thursby for Brigid O’Shaughnessy, epitomizes the perilous entanglements and fatal outcomes that characterize the novel’s plot.

Alexandria Hotel

The Alexandria Hotel, home to the enigmatic Casper Gutman, further cements the novel’s themes of danger and duplicity. Spade's encounters here expose him to direct threats, such as being drugged during his initial visit. The hotel stands as a symbol of the deceit and betrayal intrinsic to the quest for the falcon statue, embodying the treacherous allure of the rewards that drive the characters' machinations.

1930: During this time, it is deemed acceptable and even friendly for employers like Sam Spade to refer to employees such as Effie Perine with affectionate terms like “angel” and “precious.”

Today: The use of such terms, often linked to romantic connotations, is both socially and legally discouraged, as they could be used to coerce an employee into an unwanted relationship.

1930: Traveling by steamship from Hong Kong to San Francisco typically takes several weeks but remains the most common mode of travel.

Today: The journey from Hong Kong to San Francisco can be completed by jet plane in just a few hours.

1930: Hotels employ house detectives to monitor guests and ensure they do not engage in illegal activities on the premises. These detectives are often retired police officers.

Today: Desk clerks can utilize computerized information systems to conduct background checks more thoroughly than house detectives could in the past.

1930: Americans perceive private detectives as operating on the edge of legality.

Today: Although the private detective stereotype occasionally appears on television, it is generally believed that the job is not as glamorous as it was once portrayed.

Hammett is celebrated as the grand master of the modern American detective novel due to a prolific creative span lasting no more than eleven years (1923-1934). During this time, he produced around sixty detective novels and stories, along with several screenplays, most of which were adaptations of his own works. His early Op stories and novels illustrate a brutal world that can only be partially controlled through equally brutal means. However, The Dain Curse marks a transition to a more sophisticated, introspective detective who uses violence as a façade, responding to societal expectations. Instead of overpowering his adversaries physically, the detective navigates a labyrinth of deceit, distinguishing truth from illusion, and resists the temptation to integrate deception into his life.

The Glass Key, although reminiscent of Red Harvest in many aspects, features Ned Beaumont, a political aide rather than a traditional detective, tasked with unraveling the murder of an influential senator amidst significant political resistance.

Beaumont is far less idealistic than the Op and Sam Spade. He embodies cynicism, having embraced the pragmatic belief that his actions will not alter the world around him. Consequently, he conforms to the corrupt environment surrounding him instead of opposing it, stoically accepting the often violent misfortunes that chance presents. In his world, luck is the driving force, but unlike Spade, he doesn't attempt to structure his life with rational principles. Viewing his actions as insignificant, he refrains from trying to influence the society around him: the pervasive lack of compassion, brutality, and deceit are endured rather than contested.

Nick Charles, the main character in Hammett's final novel, The Thin Man (1934), represents a natural progression and conclusion to Hammett's creative journey. In fact, all five of his novels can be viewed as a single, cohesive body of work, centered on the challenge of maintaining dignity in a harsh and morally corrupt world. The Op confronts corruption with violence, Spade employs deception and follows a personal moral code, Ned Beaumont resorts to cynical self-preservation tactics, and Nick Charles embodies the logical extension of Beaumont's approach: a hedonistic withdrawal from society. Nick, once a detective, has left the profession after marrying a beautiful, wealthy woman and now dedicates his life to enjoying her wealth. There are parallels between the fictional marriage of Nick and Nora Charles and the real-life relationship between Lillian Hellman and Dashiell Hammett. It is speculated that Hammett retired from writing detective novels for the same reasons Nick left the detective business. He felt he had expressed everything he wanted to and realized that his words wouldn't significantly change the world. He chose to embrace a life of enjoyable hedonism with the woman he loved, allowing, as Nick remarks at the beginning of The Thin Man, "the Charleses stick to the Charleses troubles and the Wynants stick to the Wynants."

• The Glass Key (Radio Plays 1930s-1940s): Adapted as a radio play series.
• The Maltese Falcon (Radio Plays 1930s-1940s): Adapted as a radio play series.
• The Fat Man (Radio Plays 1946-1950): Adapted as a radio play series.
• The Adventures of Sam Spade (Radio Plays 1946-1951): Adapted as a radio play series.
• Roadhouse Nights (1930): Based on Red Harvest, filmed by Paramount.
• The Maltese Falcon (1931): First screen adaptation titled "Dangerous Female," directed by Roy Del Ruth, starring Ricardo Cortez as Sam Spade and Bebe Daniels as “Ruth Wonderly.”
• The Maltese Falcon (1931): Directed by Roy Del Ruth, starring Ricardo Cortez and Bebe Daniels, produced by Warner Brothers.
• Satan Met a Lady (1936): An adaptation of The Maltese Falcon, directed by William Dieterle, starring Warren William and Bette Davis, available on videocassette from Warner Home Video.
• The Glass Key (1935): Adapted by Paramount.
• The Glass Key (1942): Directed by Stuart Heisler, starring Brian Donlevy and Veronica Lake, produced by Paramount.
• The Maltese Falcon (1941): Directed by John Huston, starring Humphrey Bogart, Mary Astor, Sidney Greenstreet, Peter Lorre, and Elisha Cook Jr., available on DVD and VHS from Warner Brothers, noted for its close adherence to Hammett’s original dialogue.
• The Thin Man (1934): Adapted by Frances Goodrich and Albert Hacket, directed by W. S. Van Dyke, featuring William Powell and Myrna Loy.
• The Thin Man (1975): Universal "Movie of the Week" production for television.
• The Dain Curse (1978): Three-part television film by CBS.
• The Black Bird (1974): Parody of The Maltese Falcon, directed by David Giler, starring George Segal, Lee Patrick, and Elisha Cook Jr., available on videocassette from Columbia/Tristar.
• Hammett (1982): Directed by Wim Wenders, produced by Francis Ford Coppola, starring Frederick Forrest, based on the fictional involvement of Hammett in a cabaret singer's disappearance, available on VHS from Warner.

Sources

Cuppy, Will, “Mystery and Adventure,” in New York Herald Tribune, February 23, 1930, p. 17.

Curtis, William, “Some Recent Books,” in Town & Country, February 15, 1930.

“Judging the Books,” in Judge, March 1, 1930.

MacDonald, Ross, Self-Portrait: Ceaselessly into the Past, Capra Press, 1981, p. 112.

Further Reading

Gregory, Sinda, Private Investigations: The Novels of Dashiell Hammett, Southern Illinois University Press, 1985. Coming from outside of the small, specific world of detective fiction, Gregory examines Hammett’s novels with the same critical eye that one might apply to the works of Dostoyevsky or John Updike.

Layman, Richard, Dashiell Hammett: A Descriptive Bibliography, University of Pittsburgh Press, 1979. This book gives a comprehensive, painstakingly assembled survey of Hammett’s many novels and stories, with the detailed publication history of each.

Marling, William, “Dashiell Hammett, Copywriter,” in The American Roman Noir: Hammett, Cain, and Chandler, University of Georgia Press, 1995, pp. 93–147. Marling’s analysis of Hammett, and of The Maltese Falcon in particular, fits into a larger context of detective fiction in books and films.

Wolfe, Peter, Beams Falling: The Art of Dashiell Hammett, Bowling Green University Popular Press, 1980. Wolfe approaches the author’s life as a mystery, piecing together clues from his writings to create a convincing portrait of the man.