SYNOPSIS: Julie Kohler (Moreau) leaves her home town in a quest to avenge her husband’s death. Bent on revenge and fuelled with murderous intent, she tracks down five men she believes to have played a role in her husbands demise. The question is, does she have the right men? Francois Truffaut’s (THE 400 BLOWS, SHOOT THE PIANO PLAYER) homage to the suspenseful mystery films of Alfred Hitchcock complete with a wonderful score by Bernard Herman who’s haunting soundtracks can be heard on Hitchcock classics such as PSYCHO and VERTIGO. Based on the novel by Cornell Woolrich.

ABOUT THE DVD: This is a release by 20th CENTURY FOX for the BENELUX market (Region 2 PAL format – which is the same as in the UK, so it will play OK on all standard DVD players in the UK and the rest of Europe). The descriptive text on the rear of the packaging is in Dutch and French. The film is presented in COLOUR and in WIDESCREEN format (1.66:1 ratio) and runs for a total of 103 minutes – AUDIO is the original FRENCH language (with SPANISH, ITALIAN and GERMAN dubbed audiotracks on the DVD too) – SUBTITLES on the disc include ENGLISH, ITALIAN, GERMAN, SPANISH, DUTCH and FRENCH.

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The Maltese Falcon is still the tightest, sharpest, and most cynical of Hollywood’s official deathless classics, bracingly tough even by post-Tarantino standards. Humphrey Bogart is Dashiell Hammett’s definitive private eye, Sam Spade, struggling to keep his hard-boiled cool as the double-crosses pile up around his ankles. The plot, which dances all around the stolen Middle Eastern statuette of the title, is too baroque to try to follow, and it doesn’t make a bit of difference. The dialogue, much of it lifted straight from Hammett, is delivered with whip-crack speed and sneering ferocity, as Bogie faces off against Peter Lorre and Sidney Greenstreet, fends off the duplicitous advances of Mary Astor, and roughs up a cringing “gunsel” played by Elisha Cook Jr. It’s an action movie of sorts, at least by implication: the characters always seem keyed up, right on the verge of erupting into violence. This is a turning-point picture in several respects: John Huston (The African Queen) made his directorial debut here in 1941, and Bogart, who had mostly played bad guys, was a last-minute substitution for George Raft, who must have been kicking himself for years afterward. This is the role that made Bogart a star and established his trend-setting (and still influential) antihero persona. –David Chute END

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