The Falcon Takes Over (1942)

Considering the source material, 'The Falcon Takes Over' did have the potential to be the best of the series and very easily could have been.While it is a well above average film as a standalone and entertaining enough as a Falcon film, there is a personal preference for the first two entries in the series, which were tonally more consistent and saw more enthusiasm from George Sanders. As said, as an adaptation of Raymond Chandler it does underwhelm. It's very cliff notes and would have fared better with a longer length, less hasty pacing and a more even tone.There is more of a blend of mystery and comedy in 'The Falcon Takes Over' than seen previously, which is brilliant. Individually both are done well, the mystery is wonderfully noir-ish, fun and suspenseful while the comedy is witty and smart (if not quite as electrifying as 'A Date With the Falcon'). What isn't so good are the constant tonal shifts, which more often than not feel abrupt and jarring, and with two very different styles together it does feel a little muddled in places and tonally odd.Possible solutions would have been a longer length, just over an hour is the standard Falcon film length but the story here is a richer and more complicated one than before and the film just felt too short for it to be told to its full potential, just over an hour is nowhere near long enough to do Chandler justice. As well as a less frantic at times pace, which understandably was due to cramming in a lot of story in a short duration.However, 'The Falcon Takes Over' is one of the best looking films in the series, the sets are elegant and atmospheric and there is more of a film noir look to the cinematography than before which suited the story really well. The music is lively and haunting, the script is engaging and while the story is flawed it does still engross and entertain.It has been said here understandably that George Sanders looked bored and was losing enthusiasm in the lead role, he does look more involved in the previous two films definitely and there is too much of a laid back air at times. That said he is also very suave, elegant, charismatic and speaks with cutting aplomb, he was always a never less than watchable actor and as said in my reviews for 'The Gay Falcon' and 'A Date with the Falcon' at his best he was magnificent. Magnificent he isn't here, but watchable? Absolutely, and much more.James Gleason stands out in support in a delightfully befuddled and amusing turn, while Allen Jenkins is great fun in the comedy sidekick role and Ward Bond is suitably intimidating. The ladies also fare well, making much of and bringing charm to roles with not an awful lot to them, which is partly the fault of Chandler as one of his few weaknesses to me is the writing of some of his female characters.On the whole, well above average and entertaining, and will no doubt please those who seek much pleasure from the Falcon series, but for a satisfying and faithful adaptation of Raymond Chandler if a purist look elsewhere. 7/10 Bethany Cox

The third in RKO's Falcon series starring George Sanders is one of the best. It's notable for being the first adaptation of Raymond Chandler's novel "Farewell, My Lovely," with the Falcon character substituted for Philip Marlowe. The plot has a brute named Moose Malloy (Ward Bond) searching for his former girlfriend Velma. The Falcon tries to find her first. Sanders is great as usual. Ward Bond, who is best remember today for his supporting roles in many John Ford movies, is very good as Moose. He's clearly wearing a padded suit to make him look more imposing but it doesn't detract from his performance. The always enjoyable Allen Jenkins provides comic relief as the Falcon's sidekick Goldie. Pretty Lynn Bari is the reporter who, of course, falls for our charming hero. She and Sanders have nice chemistry, but Sanders generally had nice chemistry with all his female costars I think. The rest of the excellent cast includes Selmar Jackson, Helen Gilbert, Hans Conried, Anne Revere, Edward Gargan, and the wonderful James Gleason, one of my all-time favorite character actors. As an adaptation of Chandler's novel, it's not the best. "Murder, My Sweet" starring Dick Powell holds that distinction. But it's still fun, helped by a great cast, brisk pace, and short runtime.

The plot of Chandler's "Farewell My Lovely" gets garbled enough to remind you of "The Big Sleep" four years later (where Chandler himself helped confuse things). More so from being compressed into B-film one hour running time, but surprisingly it works on its own terms. The Falcon, foregoing his customary evening dress after the opening scene to pose as a private eye, cannot be a real private-eye, with the British accent, good manners, a butler and a comic sidekick, but there is a surrogate investigator added to the plot in the form of a girl reporter (perky Lynn Bari), and Helen Gilbert contrasts her well as Veronica Lake-style femme-fatale Velma. Moose Molloy the ex-convict doesn't employ the detective, he remains an ominous background figure, emerging from the curtains in the psychic's consulting-room with real menace, and substitutes himself as driver (that old trick) to appear at the pay-off. The plot rehash overdoes the comic business with Chief O'Hara and Falcon's sidekick "Goldie" Locke, but it does work and is an interesting genre hybrid.

Better than average Falcon, thanks to colorful Raymond Chandler characters and noirish touches. The suspense centers on what's happened to mystery woman Velma, instead of the more standard whodunit. An even bigger mystery is why the cast credits are so skimpy. A number of principal actors appear without name credit, including the pivotal Ward Bond and Hans Conreid. So, what's the story with this?Anyway, Sanders is his usual smooth self as he tracks down the mystery woman; at the same time, Lynn Bari makes a sprightly girl-Friday reporter. The script comes up with some good throw-away lines, so cock an ear. Importantly, director Irving Reis has a feel for noirish touches that create more atmosphere than most Falcon entries. Of course, the Chandler original has been filmed many times, most effectively as Murder My Sweet (1944). Nonetheless, considering its programmer status, this first version manages some interest. Ward Bond makes a convincing Moose Malloy, and get a load of Helen Gilbert as Diana Kenyon. She looks like a double-scoop vanilla ice cream cone. Also, the usually riveting cult actress Ann Revere has a minor role, unfortunately as a not very convincing Jesse Florian. Too bad the script didn't develop the phony psychic thread more fully since the hocus-pocus provides both atmosphere and color. Nonetheless, it's still an entertaining 60 minutes of Falcon.