The Maltese Falcon (TMF) and The Prisoner Of Zenda (TPOZ) have two things in common with each other:
1. Each is represented by the definitive screen adaptation of a classic novel. TMF is most famous for the 1941 version directed by John Huston (his first) starring a memorable cast led by Humphrey Bogart, Sidney Greenstreet, Peter Lorre, Mary Astor and many others. TPOZ is celebrated for the acclaimed Selznick-produced classic featuring Ronald Colman, Madeleine Carroll, Raymond Massey, C. Aubrey Smith and many others.
2. Each is represented by a cinematic remake that owes a great deal to an earlier version of the same novel. Huston's creation of TMF was preceded by Roy Del Ruth's 1931 film of the same name starring Ricardo Cortez and Bebe Daniels. This 1952 edition of TPOZ directed by Richard Thorpe and starring Stewart Granger and Deborah Kerr is a scene-by-scene restatement of the Selznick accomplishment except for the absence of the original film's fun, sparkle and charm, stunning black and white photography and amazing cast.
A paint-by-numbers portrait may come out as a very fine copy. But in the end, it will lack the many intangible qualities that go into the development and presentation of an original masterpiece.
What Huston was able to achieve in his remake of TMF is truly remarkable. Thorpe's lack of critical success in his effort to revisit TPOZ has been well documented and needs no further comment. The difference between the two situations provides a useful illustration about the presence or absence of genius on creative inspiration.
1. Each is represented by the definitive screen adaptation of a classic novel. TMF is most famous for the 1941 version directed by John Huston (his first) starring a memorable cast led by Humphrey Bogart, Sidney Greenstreet, Peter Lorre, Mary Astor and many others. TPOZ is celebrated for the acclaimed Selznick-produced classic featuring Ronald Colman, Madeleine Carroll, Raymond Massey, C. Aubrey Smith and many others.
2. Each is represented by a cinematic remake that owes a great deal to an earlier version of the same novel. Huston's creation of TMF was preceded by Roy Del Ruth's 1931 film of the same name starring Ricardo Cortez and Bebe Daniels. This 1952 edition of TPOZ directed by Richard Thorpe and starring Stewart Granger and Deborah Kerr is a scene-by-scene restatement of the Selznick accomplishment except for the absence of the original film's fun, sparkle and charm, stunning black and white photography and amazing cast.
A paint-by-numbers portrait may come out as a very fine copy. But in the end, it will lack the many intangible qualities that go into the development and presentation of an original masterpiece.
What Huston was able to achieve in his remake of TMF is truly remarkable. Thorpe's lack of critical success in his effort to revisit TPOZ has been well documented and needs no further comment. The difference between the two situations provides a useful illustration about the presence or absence of genius on creative inspiration.