Release Date: March 7th, 1973 (Los Angeles premiere)
Directed by: Robert Altman
Written by: Leigh Brackett
Based on: The Long Goodbye by Raymond Chandler
Music by: John Williams
Cast: Elliott Gould, Nina van Pallandt, Sterling Hayden, Mark Rydell, Henry Gibson, David Arkin, Arnold Schwarzenegger (uncredited)
E-K-Corporation, Lion’s Gate Films, United Artists, 112 Minutes
“Listen Harry, in case you lose me in traffic, this is the address where I’m going. You look great.” – Philip Marlowe, “Thank you.” – Harry, “I’d straighten your tie a little bit. Harry, I’m proud to have you following me.” – Philip Marlowe
I find it kind of surprising that this is the first movie I’ve reviewed with Elliott Gould in it, considering the guy has done so much and I’ve already reviewed 1914 movies on Talking Pulp. But hey, I guess I’m correcting that by finally watching The Long Goodbye, which has been on my list for a long-time.
My real interest in this is due to it being an adaptation of one of Raymond Chandler’s Philip Marlowe novels. Also, I’m a big fan of classic film-noir, as well as neo-noir, especially from the ’70s. From what I understand, this is one of the best ones I hadn’t seen yet.
That being said, this did not disappoint, as I was immediately immersed into this version of Marlowe’s world and I enjoyed it immensely.
Elliott Gould is incredible in this and while this statement may come across as really bold, I don’t know if he’s ever been better. On paper, he seems like an odd choice to play the super suave Marlowe but he nails it and gives the character a certain life and panache that we haven’t seen before this. Sure, Humphrey Bogart and Robert Mitchum are masters of their craft but Gould, in this iconic role, shines in a very different way making the character even cooler and more charming. While my assessment of Gould’s Marlowe is certainly subjective and a matter of preference and taste, seeing this film truly made me wish that Gould would’ve played the character more than once.
I love this film’s sense of humor and its wit. Gould really brings all this out in a way that other actors couldn’t. There is just a certain charisma he has that worked perfectly here and the end result is the greatness of this picture, which may be the most entertaining neo-noir of its decade.
Additionally, the rest of the cast was good and I especially loved seeing an older Sterling Hayden in this, as he was involved in some of the best classic film-noir movies ever made. Nina van Pallandt also impressed and it was neat seeing Henry Gibson and an uncredited Arnold Schwarzenegger pop up in this too.
The craftsmanship behind the picture also deserves a lot of credit from Robert Altman’s directing, Vimos Zsigmond’s cinematography and the interesting and instantly iconic score by John Williams.
One thing that really adds a lot to the picture is the locations. Whoever scouted out these places did a stupendous job from Marlowe’s apartment setting, to the beach house to the Mexican locales. It’s just a very unique yet lived-in environment that sort of makes the locations characters within the film.
In the end, I can’t quite call this the best noir-esque movie of the ’70s but it might be my favorite and it’s certainly the one I’ll probably revisit the most, going forward.
Pairs well with: other neo-noir films of the ’70s, as well as any movie featuring Philip Marlowe.