In Clive Owen’s house is a framed original movie poster. It’s not of any of the award-winning or arthouse films he’s starred in. Instead, it bears the excitable legend, “He’s a killer, when he hates!” and features a serious man pointing a serious pistol at the viewer.
British actor Clive Owen on masculinity, making it and stepping into Humphrey Bogart’s shoes
By Karl Puschmann
Canvas·
10 mins to read
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“When I was at drama school, there were a lot of brilliant rep cinemas in London that were forever screening old movies,” he says, referencing the repertory style of movie theatre that favours classics and notable films over current-day releases. “That’s where I started to go and discover all these great, classic movies.”
The new project also offered him a second swing at the Bogart bat after striking out on his first attempt.
“A number of years ago, a studio got the rights for me to do [Raymond] Chandler’s Marlowe,” he says, referring to the famed author’s hardboiled character Phillip Marlowe whom Bogart portrayed in the 1946 film The Big Sleep.
“But we never really got a script that lived up to it,” he says, the disappointment still apparent in his voice. “That project just sort of drifted away. So it was lovely to get this come my way. I was thrilled.”
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Critics have been equally thrilled. The first episode of Monsieur Spade only just screened on Tuesday night and is already being celebrated as the first essential series of 2024.
The show picks up 20 years after the events of the Falcon, to follow an older, yet no less gritty, Spade who is enjoying a peaceful retirement in a picturesque village in the south of France. Of course, someone living their best life wouldn’t make for the most thrilling television experience, so after a horrendous crime takes place in his adopted hometown Spade is pulled back into action.
“We wanted to reinvent him. He’s older, and living in a very different environment. He’s a fish out of water,” Owen smiles, clearly chuffed by the idea. “We’re playing around with all the tropes people are used to with Sam Spade. He’s this older guy who’s got to give up smoking and is trying to live a quiet life. But I also wanted to channel that 1940s vibe. That’s the origins of the guy. Even if he’s mellowing and changing and getting older, there’s still that sense of where the guy came from.”
It’s funny that Owen specifically mentions smoking as an integral component of the character. For a good chunk of the first episode, Spade is shown constantly lighting up and puffing down cigs like they’re going out of fashion. This was the one aspect of the character he had trepidations about.
“I’m an ex-smoker, so you know, the minute you start … I was smoking herbals to tell the truth because it would be too dangerous to be smoking,” he says. “It’s frightening how quickly all the habits come back and how familiar it feels. But even with the herbals, if you’re doing a scene for a long period of the day, you end up smoking quite a few of them, and they still take their toll. But yeah, it’s a little dangerous, I have to be honest.”
As for following in the footsteps of Bogart, one of the 20th century’s most influential and important actors, well, that didn’t cause nearly as much concern with Owen calling it a welcomed challenge.
“I embraced the history of it and also the fact that they wanted to do a fresh take on it. It wasn’t something that I felt intimidated by,” he shrugs.
One of the most appealing and enjoyable aspects of those early neo-noir films is the rat-a-tat dialogue and the snappy cadence and rhythm of the conversations. When the dialogue’s firing it feels more like a dance or fencing match between the characters rather than a mere exchange of words. Pleasingly, this aspect of the genre is alive and well in Monsieur Spade, with Owen getting ample opportunities to verbally joust with those around him.
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“It’s a joy to play” he enthuses. “It’s the speed of thought that’s so enjoyable in those in those films. People say something, somebody tops it, somebody tops that … it’s so whip-smart.”
He says an unexpected side-effect was that after a long day on set his brain would be stuck in Sam Spade mode long after the cameras stopped rolling.
“Those rhythms sink in because you’re doing it every day,” he says before chuckling, “But to be honest with you, Scott’s a better writer than I am an improviser so it worked best when I had his dialogue to play with.”
Then he sighs and says, “You know, we’ve lost the art of great dialogue. The writing was really, really strong in those movies.”
As were the men, who were the unquestioned stars. These days, 80 years on, those classic black-and-white films like The Maltese Falcon or The Big Sleep present a romanticised version of masculinity. The cool tough guy who’s never without a quip, is not to be messed with and always gets the broad. Characters like Sam Spade are the epitome of the trope “women want to be with him and men want to be him”. They’re also something of an outdated construct in this day and age.
“We definitely wanted to play with all that, the idea of what was considered cool and natural at that time and how that’s changed,” Owen says. “But you also have to ask the question of why these characters stand the test of time and why is Spade still an iconic character that everybody knows. Ultimately, it’s not to do with being macho, it’s to do with having a moral compass.
“You know, he’s a character that is a tough guy with wisecracks but ultimately, he feels drawn to do the right thing. If something’s wrong, or something’s bad, or somebody’s bad, he has the strong moral compass of ‘I’ve got to get involved and do the right thing’. I think that stands up even today. And that’s why characters like that sustain us.”
It’s a great insight into why people are drawn to the character. But it makes me wonder if today’s young men are lacking the sort of role models that display that type of moral compass. Sure, Spade smokes and drinks and gets into fisticuffs but he also does the right thing when it counts. Okay yes, he kills when he hates but the only people he hates are the bad guys.
But, in cinema especially, the culture has celebrated the brooding dark anti-hero for so long that the compass has gone skew-whiff and no longer points to true north. Especially in America where Owen spends so much of his time where we see the rise of groups like the Proud Boys and the shockingly regular shootings carried out by young men.
I ask Owen if he thinks that the moral compass may have gone a little skew-whiff, but he artfully dodges the question with all the skill of a master politician.
“I just think that with characters like Spade, the joy of watching him in any situation is if he’s confronted with something that he thinks is fundamentally bad, he has to get involved,” he says. “When you meet him he’s trying to live the quiet life. He’s grieving the loss of his wife, but he’s happy to just live this quiet life, however he’s drawn into something. You know, that he’s going to have to get involved and do something. Because that’s who he is. And that, you know, I think, that is attractive.”
Owen’s spoken before about how seeing David Bowie on TV when he was a young boy influenced him to become an actor. He’s also talked about how he wasn’t particularly encouraged by those around him in this artistic pursuit, with general hostility or ridicule to the fanciful idea of becoming an actor being the normal response. But he says he never wavered from the path or lost faith in his dream.
“I fell in love with acting. I was lucky in that I did a school play and I was set alight. I knew that was the thing I wanted to do.”
His first role was as the Artful Dodger in a production of Oliver! which he credits as being where it all started.
“I did pretty well in it. People seemed to like it.” He laughs softly and adds, “I mean, some people would argue I’ve played the same role ever since”.
“But it ignited a passion and however hard it was to follow that through sometimes there’s a strength and an advantage in just knowing what you want to do,” he says. “I really feel for people who go to college and come out and still aren’t sure where their place is or what they want. If you have that clarity - and I was absolutely decided that this is what I want to do, this is the thing that excites me more than anything - then it can be a help and a strength. It’s not going to be easy, but at least you have a sense of purpose to drive it forward.”
It’s something he’s driven forward for over three decades now, collecting awards and respect in equal measure. Having been playing the game at the top level for so long, I wonder if that initial rush that he felt all those years ago on stage as a cunning pickpocket has ever been recaptured or if he’s simply chasing the dragon to get that feeling again.
“Every now and again you get a gig that does that to you,” he smiles. “Inside you go, ‘Oh, wow, this is why I do what I do’. You come across a piece of material or a job that ignites the things that make you remember where you started and how you developed the passion for it. It’s only every now and again, but I would say that Spade is definitely one of those.”
Monsieur Spade screens weekly on Tuesdays on Sky’s Rialto Channel and streams weekly on SkyGo.
