Avis des utilisateurs

A surprising - and quite successful - belated attempt at film noir which gave Fredric Forrest the role of his life (Jason Robards Jr. had previously portrayed famed mystery writer Dashiell Hammett in JULIA [1977], and won an Oscar for it!) but also features terrific support from, among others, Peter Boyle, Marilu Henner, Richard Bradford and Elisha Cook Jnr. (playing an "anarchist with syndicalist tendencies"), not to mention cameos from the likes of Sylvia Sydney, Samuel Fuller and Royal Dano! Impeccable lighting and production design, together with John Barry's evocative score, set the seal on its perfect recreation of the genre's typical ambiance.

While the mystery plot wasn't immediately gripping and seemed unnecessarily convoluted (by way of an added fancy in which Hammett imagines characters from the film 'playing' the ones he invents for his stories!), it worked its way smoothly towards a satisfying conclusion. The fictionalized script took care to reference scenes from some of Hammett's most famous work - notably Roy Kinnear's Sydney Greenstreet impersonation and Forrest's own hand shaking (like Bogart's did) after standing up to the heavies, both from THE MALTESE FALCON (1941). However, the film's pornography subplot is actually derived from Raymond Chandler's "The Big Sleep"!

Even if HAMMETT doesn't seem to have suffered for it, the production was beset by behind-the-scenes problems which is a fascinating story in itself: executive producer Francis Ford Coppola had originally offered the film to Nicolas Roeg who, for some reason, didn't do it and eventually made BAD TIMING (1980; which, incidentally, I watched only a few days later!). Wenders, a lifelong devotee of American genre cinema, stepped behind the camera but his work apparently didn't meet the approval of his backers! "Halliwell's Film Guide" explained the situation thus: "The film was actually in pre-production from 1975, though shooting did not begin until 1980. This version was abandoned in rough cut and two-thirds of it was shot again in 1981 with a different crew. Sylvia Miles and Brian Keith were in the first version and not the second." For this reason alone, it's truly a shame that Paramount's DVD was a bare-bones affair (if very reasonably priced!) as a documentary on the making of the film or, better still, individual Audio Commentaries by Wenders and Coppola would have been greatly appreciated...

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.

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.

Hammett is a fictional story about the great writer Dashiell Hammett (played by Frederic Forrest). The story finds the writer retired from the Pinkerton Detectice Agency and nursing bad lungs and a taste for the liquor. When old colleague Jimmy Ryan (Peter Boyle) comes a calling, Hammett finds himself down in Frisco's Chinatown district in it up to his neck in muck and grime.

The back story to the production of Hammett is long and disappointing, all of which makes for fascinating reading and available at the click of a mouse. The film we have to view now may not be the one originally envisaged by director Wim Wenders, but on repeat viewings it shows itself to be a very loving homage to the halcyon days of film noir, a film of great technical craft and guile. Though not without issues either...

Production value is high, the set design that brings late 1920s Frisco to life is a joy, as is Joseph Biroc's luscious colour photography. John Barry provides a musical score that smoothly floats around the Gin Joints and Alleyways, while costuming is on the money. Cast are led superbly by the under valued Forrest, with Marilu Henner (Biroc lights her so well), Boyle and Lydia Lei striking the requisite film noir chords, while a host of cameos and short order roles will have the keen of eye putting names to the faces from similar films of yesteryear.

The story is complex, which is purposely complimented by narration, canted angles, slatted shadows, billowing smoke, and of course a number of venues that all anti-heroic detectives must traverse to unravel the mystery bubbling away under the seamy surface. The problems are evident of course, it's a very uneven picture, the re-writes etc leaving a disappointing mark. It's also like watching a performance at the theatre, akin to watching a play, the predominantly stage bound shoot - and the almost forced delivery of lines - makes it synthetic.

But ultimately there's a lot of noir love here, enough to ensure that repeat viewings for those of that persuasion should find themselves rewarded for their time. 7/10

Despite a big chaotic mess behind the scenes, 1982's Hammett starring Frederic Forrest is an entertaining noir-ish experience, bringing us back to the '40s adaptations of Hammett and Raymond Chandler novels.

Wim Wenders direction did not meet the approval of the backers and delays pushed the film from its preproduction beginnings in 1975 to 1980. The first version starred Brian Keith and Ronee Blakely, but most of that was thrown out.

In 1981, two-thirds of the film was re-shot. There are in essence two versions of this film, with only one released.

In this story, Hammett himself is involved as a detective, called by his actual first name, Sam. His mentor, Jimmy Ryan (Peter Boyle) shows up at Hammett's San Francisco office looking for a Chinese girl, Crystal Ling, and he needs help.

Crystal turns out to be a former prostitute and porn star who has engaged in fantasy scenarios with some of the richest and most influential men in San Francisco - and there are photos. So lots of people want Crystal and her photos before she can trade them in for a million dollars.

Hammett comes up against the police, people trying to hurt him, and friends who aren't as he works to get the photos.

The joy of this film is in its homage to movies like "The Maltese Falcon" and "The Big Sleep" and the casting of Elisha Cook, Jr., who appeared in "The Maltese Falcon" and countless noirs, in his last film.

Roy Kinnear is a Sydney Greenstreet-type character, and Sylvia Sidney, an actress who had a 70-year career as a leading woman and character actress, plays a woman who runs a charity home for girls. Vets like Royal Dano and director Sam Fuller also appear. For old movie lovers, this is a treasure.

This is a very stylized movie, with Forrest as a Bogart-type Hammett, Marilu Henner as his beautiful and helpful neighbor, and Peter Boyle as a hardnosed detective. The acting is all done in the manner of '40s films; along with the wonderful noir atmosphere, it all works well.

Modern noirs for some reason don't always make it, for me, anyway, but this one pulls it off, due to the talent behind and in front of the camera.

The novel writer Dashiell Hammett is involved in the investigation of the mysterious disappearance of a beautiful Chinese cabaret actress in San Francisco.

Who would have thought that Wim Wenders had in him one of the all-time great American detective films? Not me, that's for sure. And yet, here it is with some great characters and plenty of those intriguing twists and turns we love. And Peter Boyle! The setting of San Francisco as opposed to New York or Los Angeles (or Chicago) was a good choice, and of course allows for the Chinatown subplot. Surprisingly, this does not seem to be a common plot element in detective films (besides, of course, "Chinatown").

A fictionalized account of Dashiell Hammett getting involved in a scenario like something from one of his own stories. Wim Wenders constructs a neo-noir that's light on the "neo". No post-modern winks at the audience, no updating the sex and violence to the modern standards. Except for the color photography, one utterance of "shit" and slightly more sexual suggestion than you could get away with the time, it feels like something straight out of the era. The snappy dialogue, the canted angles, the rough and tumble characters, the twisty plot (more Chandler than Hammett, really, but whatever). The blatantly artificial sets are perhaps a little too self-conscious but it doesn't ever get too kitschy. Terrific score and very appropriate casting including Freddie Forrest, Peter Boyle, Marilu Henner and Elisha Cook. The biggest problem is that the film doesn't have a great storyline to hang its fedora on. It's pretty much just an exercise in pure duplication. But it's a fun time for lovers of the genre.

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.

By 1928, Hammett (Frederic Forrest) is a retired Pinkerton agent, aridly glossing the exploits of his old sidekick Jimmy Ryan as raw material for his magazine stories. But when the real Jimmy Ryan (Peter Boyle) turns up in San Francisco to plunge Hammett into a Chinatown cunundrum of underage hookers, gunsel punk, stag movies, blackmail, murders , he uncovers at first hand outlandish events. As Ryan shows up at Hammett's San Francisco digs searching for a mysterious Chinese girl, Crystal Ling (Lydia Lei) . And Sam ends up enlisting the help of his neighbor, librarian Kit Conger (Marilu Henner), though things go wrong. The mystery writer who lived his own stories ! He Created 'The Maltese Falcon," "Sam Spade" and "The Thin Man". But He Didn't Write This Mystery-Thriller...He Lived It. He Not Only Wrote the Greatest Detective Stories he lived them!

It's 1928 San Francisco, a fictional story centered around real life Dashiell Hammett, here as a Pinkerton agent turned famed noir fiction writer, being mediocrely told in fits and starts. Here Hammett delves into the underworld of San Francisco, as he uncovers the canvas and roles for such subsequent triumphs as The Maltese Falcon, and discovers within himself the seeds of Sam Spade. After many directors and script rewrites, Wenders was assigned by Francis Ford Coppola to this arch neo-noir with atmospheric scenario. Depicting Dashiell solving a complex criminal himself, an experience he uses in his novels. Interesting, but ultimately botched studio exercice, like many others from executive producer Coppola, who is said to have reshot much of the movie. Recently deceased Frederic Forrest incarnates the writer as a rumpled but uncreased Bogart, Boyle is the archetypal Archer-type loser, while the whole cast plays just one beat away from the genre staples their roles would become in print and the films. Big cast with iconic actors and veterans, such as: Elisha Cook, Jr. Roy Kinnear, R. G. Armstrong, Richard Bradford, Sylvia Sidney, David Patrick Kelly, Jack Nance, Royal Dano, Hank Worden and Samuel Fuller.

Adding colorful cinematography by Joseph Biroc, almost entirely studio-shot with evocative production design by Dean Tavoularis and hauntingly scored by John Barry. The motion picture was professional but unevenly directed by Wim Wenders . This great German director Wim Wenders has made thoughtful and thought-provoking films , and he has a peculiar fascination with rare and outlandish roles . He has made various prestigious documentaries , and notorious fiction movies and he even worked in Hollywood . As Francis Ford Coppola, as producer , gave Wenders the chance to direct in America : Hammett (1982) that was a critical and commercial failure . However , his American-made Paris, Texas (1984) (1984) received critical hosannas, wining three awards at Cannes, including the Palme d'Or, and Wenders won a BAFTA for best director. "Paris, Texas" was a prelude to his greatest success , "Wings of Desire"(1987) , which he made back in Germany . The film brought him the best director award at Cannes and was a solid hit, even spawning an egregious Hollywood remake and later on , Wenders himself directed a second part : ¨Faraway, So Close!¨(1993) that won the Grand Prize of the Jury at Cannes . Wenders followed it up with a critical and commercial flop "Until the End of the World"(1991) . Since the mid-1990s, Wenders has distinguished himself as a non-fiction filmmaker, directing several highly acclaimed documentaries , most notably ¨Buena Vista Social Club¨ (1999) and ¨Pina¨ (2011), both of which brought him Oscar nominations , as well as this The Salt of the Earth (2014). Rating : 6/10 , decent and agreeable film, though slow-moving at times. The flick will appeal to Wim Wenders followers and completists.

GOOD - I enjoyed the 1920s look, the San Francisco-Chinatown locale and the nice set designs. It was interesting to see Marilu Henner from television's "Taxi" fame. I also was great fun to see one of my favorite actors from the classic film noir era, Elisha Cook Jr. Another classic star, Sylvia Sidney, also makes an appearance.

BAD - A somewhat convoluted story and several main male characters who are uninvolving - particularly lead character " Dashiell Hammett," played by Frederic Forest - make one lose interest in this story by the halfway point. If the lead doesn't connect with the audience, then the film is in trouble, which may explain why this movie is almost obscure. Peter Boyle, playing "Jimmy Ryan," also looked like he was reading his lines from a cue card. From what I've read, this film had a lot of production problems and much of the director Wim Wenders' work had to be re-shot by Francis Ford Copolla. Obviously, this project was a semi-disaster from the start. One thing they could have used: narration. It goes perfectly with this kind of story, and they didn't use it.

Overall, being a film noir buff I was very disappointed in this effort. I really wanted to like this movie. It should have been far better than it wound up, but at least I know now why the movie never made a name for itself.

A disappointing effort by a fine cast of actors, this movie's dialog is hackneyed, a fact which is exaggerated by the lack of chemistry among the characters. With few exceptions, there's barely any life here, just a bunch of people saying lines at each other. What a waste.

Lydia Lei is the best of the lot, capturing the right feel for her critical character. Elisha Cook, Jr. is fine in his role--Anarchist, with syndicalist tendencies--gotta love that. The rest of the cast is left floundering, even Forrest when anyone else is in the scene. Given the body of work most of them have shown us, the direction is the problem here. A bad imitation of the original film noir opus.

Barry's music is fine, the film looks good, but comparing it favorably with _The Maltese Falcon_ and films of that era is insulting to the tradition.

'Hammett' is an excellent case of Zoetrope Studios, utilizing Coppola's unusual electronic-soundstage method of production (which would be further refined in his seldom-seen 'One From the Heart,' also with Frederick Forrest). In certain respects the film is like Paul Schrader's 'Mishima,' also based on a literary figure, with a seamless interweaving with the author's fictional characters along with thw writer's real life. Watch 'Hammett' and try to sort out the various strains that pop up in different films based on his work, notably the 'Maltese Falcon.' Elijah Cooke is one of the stars of the 1982 Wenders film. Don't forget the music, the soundstage decor with the recreation of late 1920's San Francisco, and the general mood that makes 'Hammett' a worthy entry to anyone list of must-see noir films.

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.

Hammet (1982) feels a bit like a direct-to-video production, in part because the movie is over forty years old, but also because it tries to capture the feel of classic cinema noir films. Kudos to the design team for meticulous attention to detail.

Like more recent productions, such as See How They Run (2022) and The Raven (2012), the movie embroils a renowned author in a fictional mystery much like the stories the author wrote. The result is a bit unfocused, as the biopic elements take screen time away from the mystery. Unfortunately, Dashiell Hammett doesn't come across as particularly interesting. He's modestly successful, a capable writer, respected, knowledgeable, and knows a lot of people. He was also a heavy smoker and an alcoholic who died of lung cancer - characteristics which add screen time without contributing to the mystery.

The movie is impressively authentic visually and offers an interesting perspective on the author's personality during one stage of his life, before he became a hermit. But ultimately, it fails to engage.

Hammett was produced by the sadly, now defunct Zoetrope Studios of Francis Ford Coppola. Hammett is a great movie that will most likely achieve cult status over time, especially with the folks who love the old 30's and 40's type crime and mystery movies. If you are a fan of this genre, you will most certainly notice the scenes which are very similar to scenes from the Maltese Falcon, but that is understandable as Dashiell Hammett penned the novel and Hammett is a who-dunnit which places the writer right in the thick of things as an old friend and mentor returns to San Francisco to seek help from Hammett played by Fredrick Forrest (The Rose). The old friend and P.I., Jimmy Ryan, played by Peter Boyle (Joe) seeks Hammett's help in locating one, Crystal Ling played by Lydia Lei aka Lydia Lei Kayahara. Crystal ran away from a brothel owned by Fong Wei Tau played by Michael Chow. I won't go any further with this as I don't wish to add any spoilers to this review, but I will say that Marilu Henner (Taxi) plays Hammett's neighbor and drinking buddy, Kit Conger/Sue Alabama. While she doesn't have the biggest part in the world, she does a good job with the part she does have and the sweater beret and black shiny coat that she was wearing at the end of the movie, well, made me long for the good old days. Other old time favorites show up here as well. Roy Kinnear plays English Eddie Hagedorn and Elisha Cook Jr.

plays the taxi driver Eli. Hammett's nemesis in this movie is Lt. O'Mara played by R.G.

Armstrong, while the ever present bad-boy punk is played to perfection by David Patrick Kelly (The Warriors)(Last Man Standing). Sylvia Sidney plays Donaldina Cameron and is only given a small part as is Elmer Kline who plays Doc Fallon. Jack Nance plays Gary Salt. The movie goes back and forth between what our main character has written and what is actually happening, but the two are pretty much the same. Dark and brooding as this film is, it is still worth your time and it is available, at least for now, so grab a your copy while you can as it is worth it to have it in your collection. Too bad that it seems that Lydia Lei only had an 11 year run in movies and TV. I thought she played her character wonderfully. According to the information on IMDb she started in 1977 and her last entry was 1988.

It is painful to have to admit this, but even Wim Wenders can make a bad movie. I saw this years ago and was terribly disappointed. I just had another look, fooling myself into thinking it must have matured in the can and it would be really good, and that I just remembered it wrong. But alas, it was even worse than I remembered. Frederic Forrest is superb and was perfectly chosen to play the main character, Dash Hammett the detective writer ('The Maltese falcon', 'The Glass Key' and the 'Thin Man' films). Forrest worked again with Wenders 15 years later in another film and he played Hammett a second time in 'Citizen Cohn' (1992). He is a good solid actor and always delivers. The other highlight of this film in terms of acting is the amazing Lydia Lei, who plays a Chinese siren even though she is Japanese. She has that something extra. She will make the hair rise on the back of your neck, and maybe more besides. But the film is a super-flop. Wenders obviously loves old noir movies and thought 'wouldn't it be nice if'. But just as 'man cannot live by bread alone', so a film director 'cannot live by homage alone'. The concept, the story, the script, are all terrible. And the interior lighting is even worse, far too harsh, and the attempts at expressionism with streaked shadows and so forth is a total failure. Above all, everything is too contrived and the characters apart from Hammett himself are pastiche people, which was doubtless intentional in a jocular homage sort of way, but Germans should never try humour, as it is not their forte, and Wenders is best when he is being earnest and serious, or portraying personal angst or hanging out with musicians. Even Wenders's flair for music wobbles here, with some dubious song choices. This was just an 'off day' for Wenders which lasts for 97 minutes, and if you make it that far you pass the endurance test.

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

Wim Wenders did an excellent job with this movie.

The only possible difference with the old classics is that the film is filmed in colour. The sets recreates amazingly the atmosphere of the real film noir. The story and the acting works on the same good level, and special mention to th excellent music score of John Barry.

I would like to highlight the fact of the movie also shows the personal life of Hammett: his humble apartment, his neighborhood, his alcohol problems, his girlfriend....which makes the story believable.

Not just for film noir lovers, but for people who loves cinema in general.

This is an A storyline sabotaged by a C script and acted out by B actors (with the exception of Boyle and Henner) and directed by a B director. The music by Barry is very good, but not enough to hold up the film, even with pleasing cameos by Elisha Cook Jr, Sylvia Sydney and Samuel Fuller.

The lighting is exceptional, as is the production design, however, we cannot get around the poor casting (especially for the lead of Hammett, and the cartoonish stylization of several scenes. A few worked, but many more did not. The cops with the porno film was very funny, as were one or two of Hammett's comments. But the majority of lines sounded like they were hackneyed.

I expected so much more with the Coppola name attached to the film. Very disappointing. Apparently, some amateur thought that satire would be more amusing than real dialogue. Wrong.

Hammett is a modern take on film noir.

The one thing that differentiates this movie is the visions of the titular character, Hammett, a detective turned into writer of detective stories, where reality and his novel become one, though it's not entirely clear what this offers other than paying tribute to the genre.

Hammett doesn't feel or look like a Wim Wenders movie, which is to be expected if one takes into account how it was produced. Also, its plot is more confusing than it is interesting.

On the other hand, it gets the setting right and is highly atmospheric, as any movie whose events take place in 1920's Chinatown should be. Plus Frederic Forrest's performance is key in making the movie work.