Hammett

When a young Chinese woman by the name of "Cristal Ling" (Lydia Lei) goes missing in San Francisco a retired detective turned novelist named "Samuel Dashiell Hammett" (Frederic Forrest) agrees to attempt to find her. However, he soon begins to realize that there is much more to this missing person's case than his private detective friend "Jimmy Ryan" (Peter Boyle) initially told him. And the fact that even the police advise him to steer clear is even more cause for caution and concern. Now rather than reveal any more I will just say that this was an interesting mystery film which benefited greatly from the 1920's backdrop. Likewise, the twists and turns along the way which continued on to the very finish certainly helped to a great degree as well. Admittedly, it could have used a bit more action and suspense but even so I enjoyed this film overall and I have rated it accordingly. Slightly above average.

HAMMETT was one of the first books I read for pleasure back in college and I recall anxiously awaiting how it was going to be Zeotroped on screen... visually the movie reminded me of a large single set production (like 1937's DEAD END)... it's almost as if somebody like Bill Gates took a film class and decided to adapt the book as his final. Large plot chunks are missing from the book (notably a car chase and a baseball bat murder) but this movie was so unique (in those pre-Joel and Ethan Cohen days) that I remember it looking like a strange painting even after 20+ years. Forrest is a terrific under-rated actor and was a perfect choice for Dash. You won't be wasting your time checking HAMMETT out but the book has it beat. 8/10.

In the background/historical notes to his novel, "Hammett," author Joe Gores says of one character, ". . . and if you don't know who he's based on, you need to read more Hammett." The movie, more or less based upon the novel, takes Gore's dicta to heart with several key characters. The result can be a whole lot of fun if you know your Hammett; if you're a little weak in that category, the result is merely a lot of fun.

Set in 1927 San Francisco, the film catches Dashiell Hammett in transition: Trying to firmly put his Pinkerton days behind him while establishing himself as a writer, dealing with the twin scourges of his World War I - induced tuberculosis and the alcoholism that will plague him almost to the end of his days, he finds himself drawn back into his old life one last time by the irresistible call of friendship and to honor a debt. By the time he's done, he finds himself having paid a far higher price, learning that he had only thought himself to be totally disillusioned beforehand.

"Hammett" the movie is as much an homage as "Hammett" the novel. It is a rare thing for neither a movie nor a novel to suffer by comparison to each other -- especially when the two are so divergent -- but that is exactly what happens here. The screenplay is strong, the production values uniformly excellent (check out the 1920s Market Street Railway streetcar which passes by in the background briefly in one scene, for example; only one in a thousand viewers might recognize it, and only one in possibly two thousand might appreciate the verisimilitude it provides), the direction and pacing authoritative.

Frederic Forrest is virtually perfect as Hammett; by turns ravaged and buoyant, hardboiled and outraged, at every turn ultimately unstoppable. By the film's close, he makes it very clear that, for Hammett, there will be no turning back; those moodily tapping typewriter keys which formed such an eerie backdrop for much of the action will also provide his salvation, and that this is a good thing.

And anyone who disputes that, as Joe Gores would say, needs to read more Hammett.

This film is a fine example of the classic mystery film, such as The Maltese Falcon, updated in color. Rich atmosphere surrounds all the characters. The cast, including Frederic Forrest, Peter Boyle, Marilu Henner!, Elisha Cook, Lydia Lei, do well. It's not perfect, but certain worth a looksee on a dark, foggy night. A solid 9 from me.

Watched Coppola/Wim Wender's "Hammett" again this past w/e- the film grows on me- has a flavour I like- the detective genre mixed with post-turn of the 20th century San Francisco- and the fact that SO MUCH is done on soundstages gives it a surreal quality. The film's production history has always been interesting (Frederick Forrest and Marilu Henner got married and divorced during it's long, tumultuous halt-run production). But, if you have never seen this or heard the John Barry score- you should. At least the score. It's to be placed in the Barry category called "unusual"- piano melodic and a lot of strained strings prevail- giving it a gin-soaked, withdrawn feel that still tugs through a foggy SF even when it's clear. A dubious above-ground underworld sucks all the characters and audience into a not-so-licentious but rather everyday (same then as today) corrupt city power structure. The film and score play off of each other, intertwining, massaging and playing out a tale of woe, misbegotten friendship and a lusty disgust for those in-power at that unique place by the bay. If ANYthing can be said of this film- it's that it has character-a-plenty and that includes the score