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Nearly every character in The Maltese Falcon is motivated by greed and self-interest. This is most evident in O’Shaughnessy, Cairo, and Gutman, who are all willing to lie, steal, and murder if it means getting their hands on the falcon. When Spade enters the action, the trio already has an established history of double-crossing and backstabbing one another to ensure all the profits for themselves. O’Shaughnessy has already turned on Gutman—who originally hired her to acquire the falcon—and Cairo—who she enlisted to help steal the falcon—when she kills Miles Archer as part of a plan to frame her last remaining ally, Thursby, to get him out of the picture as well. Cairo, who is in America on behalf of Kemidov—the man he helped O’Shaughnessy steal the falcon from in the first place—quickly changes allegiances again when he thinks it means he’ll get a piece of the profits. And lastly, Gutman, whose name and physical description employ fat phobia to suggest villainy and gluttony, is readily willing to sacrifice Wilmer, whom he claims to love like a son, for the falcon. For all three of them, their greed and self-interest perpetuates feelings of distrust and trumps any sense of loyalty to other people. Ironically, their desire to have the falcon for themselves not only gets in the way of seeing a profit from the falcon but leads to their demise as well.
As the antihero, Spade also displays greed and self-interest. From early in the novel, he appears to be solely motivated by money. He accepts Wonderly’s (later revealed as O’Shaughnessy) case without question—despite later admitting that he knew she was lying to him about the details—because of how much money she pays him. Later, Spade takes nearly all of her money as payment for helping. While it can be argued this is because he sees through her damsel-in-distress act, it nonetheless suggests a man who is looking to squeeze as much profit as possible out of every opportunity. Initially, Spade appears as disloyal as everyone else. He plays all three sides, accepting money (or the promise of money) from O’Shaughnessy, Cairo, and Gutman to ensure that he will benefit from the falcon no matter who finds it, and when they discuss needing a fall guy, he is willing to throw anyone under the bus so long as it is not him. However, Spade’s monologue explaining to O’Shaughnessy why he must turn her in to the police reveals that there is a difference between Spade and the rest. Where the former three have no loyalty to anyone, Spade remains loyal to himself and his former partner. He stays true to his code of ethics and, despite not even liking Miles Archer, ensures that justice is served to everyone involved.
At numerous times throughout The Maltese Falcon, it is evident that Spade has no trust or respect for authority. When he is first questioned by Polhaus and Dundy, he not only refuses to answer their questions but actively antagonizes Dundy throughout the interview. Later, when he is called in for a meeting with the district attorney, he maintains a similar attitude despite threats that withholding information could make him an accomplice. He eventually storms out of the meeting and makes his position clear: He thinks District Attorney Bryan, the police, and everyone else on the city payroll is a “crackpot” (167). This is largely because he has witnessed their incompetence and the broader failures of the criminal-justice system firsthand. Instead of ideally serving and protecting, officers like Dundy brazenly throw accusations at Spade with little to no evidence due to his own bias regarding the morally gray area of how Spade conducts investigations. District Attorney Bryan is also blinded by personal bias and self-interest as he hopes to land an arrest to wrap up a large investigation of gamblers in the area to inflate his own career aspirations. Spade’s disillusionment with authority is reflected in the way the official agents of the law are shortsighted and do not value the sense of justice and loyalty Spade upholds.
Spade recognizes that the criminal-justice system is run by individuals like Dundy and Bryan whose judgment is compromised by personal goals and motivations that prevent them from finding the truth. His solution to this is to take matters into his own hands, which sometimes means acting outside of the law. As a private detective, Spade is more freely able to navigate the world of crime and immorality. His willingness to bend and even break the rules provides an advantage and allows him to successfully navigate this dangerous environment and discover the truth. Ultimately, The Maltese Falcon presents a world where nobody is honorable, but Spade is one of the few people fighting for justice and truth. With the justice system broken and everyone around him morally corrupt, Spade manages to maintain his own code of ethics: staying true to his pursuit of truth and justice, even when it goes against his personal desires and interests.
Truth is central to the foundation of The Maltese Falcon, as a work of detective fiction. From the outset, the novel conveys a sense of mystery, concealment, and unknowability about its world and characters: The streets of San Francisco are labyrinthian and shrouded in fog; the central mystery is convoluted and full of red herrings; characters lie about their identities and motivations; and distrust is pervasive. The third-person objective narration means readers are never privy to any character’s inner thoughts or feelings. As Spade navigates this constellation of deceit and misdirection trying to discover the truth, it becomes evident that many of the “truths” in the novel aren’t truths at all and should not be relied upon.
The authorities in the novel, such as Lieutenant Dundy and District Attorney Bryan, both ignore evidence that is in front of them and choose to create connections that better fit the narratives they want to be true. For Dundy, this means trying to find ways to implicate Spade in the crimes, whereas for Bryan, it means connecting everything to a bigger case that has nothing to do with the falcon because it would be a great career move. Given their positions of authority, they have the potential power to create their own legal “truths” that are not at all based in reality. Gutman similarly uses the authority of historical fact to legitimize what is clearly speculation and conjecture based on limited historical accounts. He ignores the fact that history itself is an inherently biased and limited re-creation of what actually happens and uses these “truths” to justify his obsession with the falcon and convince others of its value.
Moreover, while Spade eventually discovers the truth about what is going on and that O'Shaughnessy killed his partner, Archer, the falcon itself—the object at the center of everything—turns out to be a fake. In the wake of this, Spade turns O’Shaughnessy over to the police, despite his feelings for her. O’Shaughnessy pleads with him and claims that if he loved her, he would know it, and wouldn’t turn her in. Spade’s retort that he doesn’t know—adding, “Does anybody ever?” (241)—further sheds doubt on the notion of “truth” and implies that some truths are never really knowable. In the end, truth is rarely something to be discovered in The Maltese Falcon. Instead, the biggest truth in the novel turns out to be Spade staying true to himself and his code, suggesting that the most meaningful truth is a process or state of being, rather than an objective set of facts.
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