TheLittleSongbird 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

writers_reign I got up at dawn to catch a 6.10 TV screening of this strictly as a Chandler buff. I had long known of it, of course, but never seen it. I had also heard of the Falcon franchise and it seemed reasonable that the Chandler novel would require amendement in order to accommodate whatever format the Falcon series had established. In the event it proved to be a melange: the first obvious discrepancy was the locale, Chandler's Los Angeles had been shipped intact to New York, presumably the established stanping ground of the Falcon; bizarrely half the characters retained Chandler's names - Moose Malloy, Jesse Florian, Ann Riorden, Jules Amthor, but others had been altered slightly - Laird Brunette became Laird Burnett, Lindsay Marriott became Quincey Marriott - or totally - the femme fatale was no longer Mrs Grayle but someone totally fictitious. Whilst Chandler's Marlowe was not above cracking wise with low-key dialogue here The Falconh's sidekick, Allen Jenkins, goes out for blatant laffs and even James Gleaso's detective employs a serial catch-phrase to his own clearly retarded side-kick. For 65 minutes it's not as bad as it might be. That same year, a second Chandler novel, The High Window, was also given the business as Time To Kill, another I have yet to catch up with.

csteidler Ward Bond is Moose Malloy, deranged escaped convict searching for a one time girlfriend named Velma. Drawing considerable noisy attention to himself, the Moose tracks down a shady night club manager who seems to know something—but is quickly murdered. That's just the beginning of a complicated plot that includes seedy characters, dimly lit locales, and more questions than answers.George Sanders is excellent as Gay Lawrence—also known, of course, as the Falcon. Sanders handles the picture's serious mystery elements with gravity and style. He also manages to fit into the other half of the plot, which is essentially comic relief provided by the Falcon's right hand man Goldie Locke (Allen Jenkins) and the usual bickering police duo (James Gleason and Edward Gargan as exasperated inspector and dumb assistant detective).Lynn Bari is fine as the female in the case – unexceptional but solid as the usual plucky girl that the Falcon teams up with. She and Sanders exchange some decent banter: "You believe me, don't you?" she asks at one point. "I like you," he answers, "which is much more important."Easy viewing for fans of series mysteries, with Sanders' strong performance standing out.

Jane Napolitano (Jane1023) An entertaining enough film, but a bit too "cute" and tries a bit too hard to be funny for hard-core film-noir fans like myself. For a far superior adaptation of the same Chandler story, I highly recommend "Farewell My Lovely" (1975).