Film Review: Dead Men Don’t Wear Plaid (1982)

Release Date: May 4th, 1982 (USA Film Festival)
Directed by: Carl Reiner
Written by: Carl Reiner, George Gipe, Steve Martin
Music by: Miklos Rozsa, Steve Goodman
Cast: Steve Martin, Rachel Ward, Reni Santoni, Carl Reiner, George Gaynes

Aspen Film Society, Universal Pictures, 88 Minutes

Review:

“I hadn’t seen a body put together like that since I’d solved the case of the Murdered Girl with the Big Tits.” – Rigby Reardon

How is it that this film has existed for nearly forty years but I hadn’t even known of its existence until more recently. Maybe I saw it in video stores, as a kid, and it just didn’t jump out at me. However, being a lover of Steve Martin and classic film-noir, this felt like it could be something that was right up my alley.

In short, it most certainly was and I liked this movie a lot. However, it’s far from perfect and I think that its constant reliance on old film footage that features old film stars was really overused, even if that was the creative direction of the picture.

I loved seeing Steve Martin interact with the greatest stars of the silver screen and I certainly love that Humphrey Bogart’s version of Philip Marlowe was a big part of the story. However, some scenes came off a bit clunky and unnatural. But I guess it’s hard trying to make this feel more organic when Martin rarely has another actor to actually banter with. It’s hard reading a scene as it plays out and nailing that comedic timing.

Still, a lot of the jokes and one-liners in this movie were hilarious and Martin was the real high point of the film, making this much greater than it would’ve otherwise been.

The film looked stupendous, though, and Carl Reiner did a hell of a job behind the camera and managing the overall aesthetic of the picture. It matched with the classic film-noir clips quite well and in modern HD, this really looks crisp and pristine.

All in all, this was a weird but entertaining experiment. I can see why it might not have connected with mainstream audiences in 1982 and fell down most people’s memory holes but it still features a fantastic, memorable performance by Steve Martin in his prime.

Rating: 7/10
Pairs well with: other Steve Martin comedies of the ’80s and early ’90s.

Film Review: The Long Goodbye (1973)

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

Review:

“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.

Rating: 9.25/10
Pairs well with: other neo-noir films of the ’70s, as well as any movie featuring Philip Marlowe.

Vids I Dig 131: Razörfist: Film Noirchives: ‘Murder, My Sweet’

 

From The Rageaholic/Razörfist’s YouTube description: A wisecracking detective. A bombshell blonde femme fatale. Missing jewelry. A mysterious murder. It’s getting awfully noir in here.

Film Review: The Big Sleep (1978)

Also known as: Raymond Chandler’s The Big Sleep (UK)
Release Date: March 13th, 1978 (new York City premiere)
Directed by: Michael Winner
Written by: Michael Winner
Based on: The Big Sleep by Raymond Chandler
Music by: Jerry Fielding
Cast: Robert Mitchum, Sarah Miles, Richard Boone, Candy Clark, Joan Collins, Edward Fox, James Stewart, Oliver Reed

Winkast Film Productions, ITC Entertainment, United Artists, 99 Minutes

Review:

“Such a lot of guns around town and so few brains!” – Philip Marlowe

I never saw this film until now but I had assumed that it was a proper sequel to Farwell, My Lovely, a film that came out three years earlier and also starred Robert Mitchum as the famous literary private dick, Philip Marlowe.

However, this is its own thing, as this takes place in a contemporary setting, as opposed to being a period piece like the previous movie.

Still, this makes Robert Mitchum the only actor to play Marlowe more than once in a feature film.

Overall, this is a star studded affair with James Stewart, Richard Boone, Oliver Reed, Joan Collins, Sarah Miles and Candy Clark in it. And honestly, everyone does a pretty fine job with the material and you do become invested in most of the characters.

This film is pretty harsh, though. Especially when compared to other films about Marlowe, especially the older version of The Big Sleep, which starred Humphrey Bogart and Lauren Bacall. And while this is a modernized noir, it’s grittiness is over the top and it loses some of the luster that the Marlowe movies had when they were traditional film-noir from the ’40s.

I did like this for what it was and it’s worth checking out at least once for fans of noir and Mitchum. However, it seems like it is trying to be edgy while not fully committing to the bit.

This isn’t bad and it has a few memorable moments but it’s far from Mitchum’s best and nowhere near the top of the list when it comes to Marlowe pictures.

Rating: 5.5/10
Pairs well with: the other Robert Mitchum movie where he plays Philip Marlowe: Farewell, My Lovely, as well as other ’70s neo-noir.

Film Review: Lady In the Lake (1946)

Release Date: December 19th, 1946 (London)
Directed by: Robert Montgomery
Written by: Steve Fisher
Based on: The Lady In the Lake by Raymond Chandler
Music by: David Snell
Cast: Robert Montgomery, Audrey Totter, Lloyd Nolan, Tom Tully, Leon Ames, Jayne Meadows

Metro-Goldwyn-Mayer, 105 Minutes

Review:

“Do you fall in love with all of your clients?” – Adrienne, “Only the ones in skirts.” – Marlowe

There were a lot of Philip Marlowe movies in the 1940s. This one was probably the most unique though, in that it was filmed in a first-person perspective, as we see the whole movie through the eyes of the famous private dick.

I don’t think that this is the first time that a movie was filmed entirely in first-person perspective but it’s the only film-noir that I’ve seen presented that way, at least in its entirety.

The technique was gimmicky but it helped to market the movie in a way that told the audience that they got to solve the case alongside Philip Marlowe: seeing and hearing everything the famous P.I. does.

If anything, the gimmick worked to hold your attention quite well, especially when you were being directly addressed by the beautiful Audrey Totter, as well as her personal assistant who shows up briefly. In any event, it was an interesting perspective to view a classic film-noir tale through.

Apart from that, the movie doesn’t offer up much flourish, stylistically. It’s a clean and well produced picture but it doesn’t have anything that really stands out in regards to its cinematography, lighting or overall visual aesthetic.

It is well acted, though, and the film is entertaining. There are the typical plot twists and noir tropes but I’d say that it is one of the weaker Marlowe movies of its day. It certainly isn’t on the level of Murder, My Sweet or The Big Sleep but its a fun movie for fans of Robert Montgomery and the Philip Marlowe character.

Rating: 7/10
Pairs well with: other Philip Marlowe film adaptations from the 1940s: Time to Kill, The Falcon Takes Over, Murder, My Sweet, The Big Sleep, and The Brasher Doubloon.

Film Review: The Brasher Doubloon (1947)

Also known as: The High Window (UK)
Release Date: February 6th, 1947
Directed by: John Brahm
Written by: Dorothy Bennett, Leonard Praskins
Based on: The High Window by Raymond Chandler
Music by: David Buttolph
Cast: George Montgomery, Nancy Guild, Conrad Janis

20th Century Fox, 72 Minutes

Review:

“[narrating] I was sore at myself for coming all the way out to Pasadena on a day like that just to see about a case. And how I hate summer winds – they come in suddenly off the Mojave Desert and you can taste sand for a week. I knew it was the voice of the girl on the phone that had got me and I was reminding myself how often your ears play a dirty trick on your eyes – but this time there was no let down…” – Philip Marlowe

It’s no secret that I love private dick movies, especially those featuring the character of Philip Marlowe, the James Bond of P.I.s. The Brasher Doubloon is the weakest of any of the Marlowe pictures I have ever seen though.

This came out in the heyday of film-noir and with other classic noir versions of Marlowe stories: The Big SleepLady In the Lake and Murder, My Sweet, I expected more from this picture.

It is far from an awful experience but it just doesn’t have the heart of Marlowe or the gravitas that one should expect. It is also really friggin’ short and doesn’t have all the twist, turns and tension that the other Marlowe pictures had. Honestly, the narrative feels rushed and this is the most predictable out of all the Marlowe movies I’ve seen.

George Montgomery was a decent Philip Marlowe but he didn’t have the presence of Humphrey Bogart, Dick Powell or Robert Montgomery. Robert Mitchum’s Philip Marlowe from the 1970s also stands on a higher pedestal.

The weird thing about this film, is that I really liked the premise and the setup, which sees Marlowe trying to track down a missing coin from a rich woman’s collection. You feel as if a strong tapestry has been woven but immediately, it’s like someone pulled on a thread and the thing came crumbling down.

If you are a Marlowe fan and a completest, then definitely check this film out. Even if you don’t like it, the film is only 72 minutes.

Rating: 6.25/10

Film Review: Farewell, My Lovely (1975)

Release Date: August 8th, 1975
Directed by: Dick Richards
Written by: David Zelag Goodman
Based on: Farewell, My Lovely by Raymond Chandler
Music by: David Shire
Cast: Robert Mitchum, Charlotte Rampling, John Ireland, Sylvia Miles, Anthony Zerbe, Harry Dean Stanton, Jack O’Halloran, Joe Spinell, Sylvester Stallone

ITC Entertainment, Avco Embassy Pictures, 95 Minutes

Review:

“[opening lines] This past spring was the first that I felt tired and realized I was growing old. Maybe it was the rotten weather we’d had in L.A. Maybe the rotten cases I’d had. Mostly chasing a few missing husbands and then chasing their wives once I found them, in order to get paid. Or maybe it was just the plain fact that I am tired and growing old.” – Philip Marlowe

Farewell, My Lovely is the first of two pictures where Robert Mitchum plays the famous literary private dick, Philip Marlowe. This is also a remake of 1944’s Murder, My Sweet, as both films were adaptations of the Farewell, My Lovely novel by Raymond Chandler.

Additionally, this came out during the 1970s, when neo-noir was starting to flourish, as a resurgence in the noir style began with the success of Roman Polanski’s 1974 masterpiece Chinatown. Plus, period gangster dramas were also gaining popularity for the first time since the 1930s and 1940s due to The Godfather films by Francis Ford Coppola.

Robert Mitchum, a man who was at the forefront of film-noir during its heyday, finally got his chance to play the genre’s most notable male character. He is also the only actor to get a chance to play Marlowe more than just once, as this film was followed up by 1978’s The Big Sleep, a remake of the iconic 1946 film with Humphrey Bogart and Lauren Bacall.

In regards to the narrative, there really isn’t all that much that is different from this picture and Murder, My Sweet. Sure, it is more violent and some details have changed but it is essentially the same story. It even has a weird drug trip sequence similar to what we got in the 1944 film.

There really isn’t much to sink your teeth into with this movie. It feels like a pointless and fairly soulless attempt at a reboot of the Marlowe character. The art direction and the cinematography are decent but the only real thing that holds this picture above water is Robert Mitchum, as well as some of the other actors.

Charlotte Rampling is decent but she doesn’t have much to do. Harry Dean Stanton appears but he doesn’t have enough meat to chew on. You also get to see a young Sylvester Stallone and Joe Spinell play some henchmen. The only real standout, other than Mitchum, is Jack O’Halloran as the Moose Malloy character.

I had high hopes for this movie but was pretty much let down once seeing it. I’ll still check out its sequel but this is not one of the better neo-noirs of the 1970s.

Rating: 6/10

Film Review: The Big Sleep (1946)

Release Date: August 23rd, 1946
Directed by: Howard Hawks
Written by: William Faulkner, Leigh Brackett, Jules Furthman
Based on: The Big Sleep by Raymond Chandler
Music by: Max Steiner
Cast: Humphrey Bogart, Lauren Bacall, John Ridgely, Martha Vickers, Dorothy Malone, Elisha Cook Jr.

Warner Bros., 114 Minutes, 116 Minutes (pre-release)

Review:

“And I’m not crazy about yours. I didn’t ask to see you. I don’t mind if you don’t like my manners, I don’t like them myself. They are pretty bad. I grieve over them on long winter evenings. I don’t mind your ritzing me drinking your lunch out of a bottle. But don’t waste your time trying to cross-examine me.” – Philip Marlowe

There are few women that can match the presence of Humphrey Bogart on screen but I guess there is a reason why Lauren Bacall was in four pictures with Bogie and why they fell in love and got married, despite quite the age difference.

This is one of many Philip Marlowe stories put to celluloid in the 1940s. Strangely, a different actor played Marlowe in every movie as there wasn’t any sort of cohesiveness to the rights of the character. Different studios owned the rights to different books and some Marlowe movies even changed the character’s name to things like “The Falcon” and “Michael Shayne”. In The Big Sleep, we get to see Bogart become the character in what is arguably the best and most popular version of Marlowe.

Like typical film-noir and a Marlowe story, for that matter, this thing has a lot of solid twists and turns. You never really know where the roller coaster ride is going but it’s a hell of a lot of fun. In a nutshell, private dick Philip Marlowe is hired by a rich general with two beautiful daughters. One daughter has massive gambling debts, so Marlowe is brought in to help resolve this. The older sister, played by Lauren Bacall, assists Marlowe because she knows that the situation her little sister is in, is something bigger and deeper than what’s on the surface.

The Big Sleep is very complex and while it may, to a degree, work against it and make it hard to follow if you’re not completely tuned into it, it’s still well constructed and executed. I’m not sure how faithful of an adaptation it is to the book but it probably did its best in giving that story its life on screen. Complex stories are usually a bit easier to follow in a book than on screen, as there is a different sort of pacing and you have to be engaged by the book, giving it your full attention. But this isn’t too dissimilar to most film-noir films adapted from the crime novels of the day.

Bogart and Bacall always had fantastic chemistry. This is a great display of just how good each of them were and especially how good they were playing opposite of one another. Bogart is his typical cool self and Bacall has a serious sass that isn’t something most women can match.

Howard Hawks made one of the best Philip Marlowe pictures of all-time with The Big Sleep. It was probably easy directing the duo of Bogart and Bacall, however. Plus, he had the cinematography of Sidney Hickox at his disposal. Hickox being a real veteran with a lot of mileage under his belt at this point.

Rating: 9/10

Film Review: Murder, My Sweet (1944)

Also known as: Farewell, My Lovely (UK)
Release Date: December 9th, 1944
Directed by: Edward Dmytryk
Written by: John Paxton
Based on: Farewell, My Lovely by Raymond Chandler
Music by: Roy Webb
Cast: Dick Powell, Claire Trevor, Anne Shirley, Otto Kruger, Mike Mazurki

RKO Radio Pictures, 95 Minutes

Review:

“She was a charming middle-aged lady with a face like a bucket of mud. I gave her a drink. She was a gal who’d take a drink, if she had to knock you down to get the bottle.” – Philip Marlowe

I watched this Philip Marlowe picture back-to-back with The Big Sleep in an effort to compare the two Marlowe pictures and the two Marlowes: Dick Powell and Humphrey Bogart. Plus, both films had the distinction of being remade three decades later with Robert Mitchum playing Marlowe in both of those movies.

Murder, My Sweet is a really good motion picture. It isn’t quite as good as The Big Sleep, though. But this definitely fits in with the style and tone of an RKO noir movie. Some people prefer this to The Big Sleep but it’s hard to top Bogart for me, especially as a private detective. Although, Powell feels more like Philip Marlowe from a literary standpoint.

Claire Trevor is pretty good in this and I liked her chemistry with Powell, even if it pales in comparison to Bogart and Bacall. The acting was top notch and these two brought their best to the table and delivered. I really enjoyed Anne Shirley the most, however. She was cute and quirky and just a lot of fun on screen.

One really cool thing about this film were the visual effects every time Marlowe got knocked unconscious. A liquid black pool would come into the frame and wash away the scene. There was also a good amount of visual flair used in the hallucination sequences. I was surprised to see how trippy this movie was, especially for something from the 1940s. It predates yet reminds me of some of the trippy sequences from Roger Corman’s Edgar Allan Poe films of the 1960s.

I also love the dialogue in this film. It is a quintessential film-noir in that regard. Powell and Trevor just trade quick witty jabs back and forth, in what is a true display of that savvy and savory noir conversational style.

Otto Kruger also makes a good villainous character. In my opinion, he steals the scenes he’s in. He just has a presence and an air about him that is pretty uncanny. Mike Mazurki plays Moose Malloy, the film’s heavy and the muscle of Kruger’s Amthor. The physical exchange between Powell, Mazurki and Kruger is one of the best of the classic noir era.

Murder, My Sweet is a solid and fun picture. Noir films aren’t typically fun, most are dark and brooding, but this injects a lightheartedness into the style. It isn’t as heavy as other films like it and since I’ve been watching a lot of noir, as of late, this was a nice break from the moodier tone that’s typical of the style.

Rating: 8/10