As "classic" as this '41 version is, Roy Del Ruth's underrated original '31 version beats it out in a number of ways.
Spade's relationship to women is much better defined in the original. Bogart kissing Archer's wife at the start of the '41 version feels like a throwaway. It's easy to forget they even had an affair half way through the movie.
In the original it's a defining moment for Spade - painting him as a true womanizer. The film shows that Archer knows what's going on and isn't happy about it.
Spade's happy/sleazy persona in the original makes much better sense than Bogart's tough, smirky one. While it's lovable, it doesn't service the drama as well.
In the original, when Spade is alone with Ruth Wonderly at his place you wonder who is exploiting who and there's a lion's share of real sexual tension. It feels dirtier and truer despite being shot ten years earlier. It's great to watch.
In Huston's remake, Bogart's too smart to be gotten and there's so little actual attraction it's all cat-and-mouse with no real chance of romance.
When Ruth finally comes over to Bogart's apartment, Houston puts Cairo in the scene before the cops arrive. This kills all the sexual tension, turning it into more increasingly convoluted cat-and-mouse writing rather than something relatable.
There are elements Huston added to the '41 version that further convolute the story. The entire scene in which Bogart messes with the Wilmer character in the hotel while speaking to Joel Cairo about his night at the police station is unnecessary and confusing.
It's a scene that is smartly not in the '31 version.
Lastly, the ending is so much more profound in the original that the '41 version doesn't hold a candle to it. "The stuff that dreams are made of" is a famous Bogart line, but is a sad compensation for the power of the original conclusion in which Ruth actually does fall for Sam, but he realizes it after it's far too late.
The final scene takes place between them when he comes to visit her in prison, after getting a promotion. It's astonishingly heartbreaking and extraordinarily well done.
History be damned.
Incidentally Houston was nominated for a screen writing Oscar for this script. If you look at how much of the structure and screenplay remain the same in his remake, it's an outrageous nomination. The things Houston added actually detract from and confuse the narrative rather than making it better in any way.
See the original!
Spade's relationship to women is much better defined in the original. Bogart kissing Archer's wife at the start of the '41 version feels like a throwaway. It's easy to forget they even had an affair half way through the movie.
In the original it's a defining moment for Spade - painting him as a true womanizer. The film shows that Archer knows what's going on and isn't happy about it.
Spade's happy/sleazy persona in the original makes much better sense than Bogart's tough, smirky one. While it's lovable, it doesn't service the drama as well.
In the original, when Spade is alone with Ruth Wonderly at his place you wonder who is exploiting who and there's a lion's share of real sexual tension. It feels dirtier and truer despite being shot ten years earlier. It's great to watch.
In Huston's remake, Bogart's too smart to be gotten and there's so little actual attraction it's all cat-and-mouse with no real chance of romance.
When Ruth finally comes over to Bogart's apartment, Houston puts Cairo in the scene before the cops arrive. This kills all the sexual tension, turning it into more increasingly convoluted cat-and-mouse writing rather than something relatable.
There are elements Huston added to the '41 version that further convolute the story. The entire scene in which Bogart messes with the Wilmer character in the hotel while speaking to Joel Cairo about his night at the police station is unnecessary and confusing.
It's a scene that is smartly not in the '31 version.
Lastly, the ending is so much more profound in the original that the '41 version doesn't hold a candle to it. "The stuff that dreams are made of" is a famous Bogart line, but is a sad compensation for the power of the original conclusion in which Ruth actually does fall for Sam, but he realizes it after it's far too late.
The final scene takes place between them when he comes to visit her in prison, after getting a promotion. It's astonishingly heartbreaking and extraordinarily well done.
History be damned.
Incidentally Houston was nominated for a screen writing Oscar for this script. If you look at how much of the structure and screenplay remain the same in his remake, it's an outrageous nomination. The things Houston added actually detract from and confuse the narrative rather than making it better in any way.
See the original!