Historia de un detective

This is considered one of the classic film noirs ever made and some think THE film noir. In recognizing that before I had seen it, perhaps I was disappointed because I expected more.

What I found was a very confusing film, at least in the last third of the movie as everything started to be explained. It almost got ridiculous in the last 10 minutes when Dick Powell ("Philip Marlowe") explained the whole story. He talked too fast and it was next to impossible to follow. I guess I will have to view this more often to understand it better, or find someone who can explain it for my feeble brain.

The best part of the film was the cinematography, which really comes to life on the DVD. Someone did a very nice job restoring this film. That, and the general dialog by Powell, were fascinating. You could make a short book with all the wise-guy remarks made by "Marlowe" in this film - a lot of great stuff. I just wish they had made a simpler story and made it easier for the viewer to digest all the facts at the end.

Produced by the legendary RKO during the golden age of American film noir, Murder, My Sweet remains to this day one of the best adaptations of the adventures of Philip Marlowe.

The mythical antihero Raymond Chandler had a slew of excellent adaptations to the big screen including The Big Sleep by Howard Hawks and The Private by Robert Altman. Philip Marlowe has inspired dozens of imitators and one can still find his DNA in the chronic darkness of James Ellroy.

Everything is there: the smoky bars populated by exotic dancers, the femme fatale, the weary detective who is constantly beaten up after his hilarious escapades, etc. To this Dmytryk adds a few original touches straight out of German Expressionism.

Humphrey Bogart will overshadow him a few years later, but Dick Powell portrays a Philip Marlowe deeply funny, always ready to deliver a good line. A memorable performance, although the actor did not necessarily look the part. Powell is accompanied by excellent supporting characters, including two femmes fatales Claire Trevor and Anne Shirley. In the role "Moose" Malloy, Mike Mazurki intimidates while managing to remain touching. As for Otto Kruger, he plays a deliciously evil villain. Scripted by John Paxton, the film is somewhat watered down compared to the Chandler novel, he nevertheless manages to bring out the very substance without too many sacrifices.

Murder, My Sweet is a fine example of film noir.

'Murder, My Sweet' is based on Raymond Chandler's classic detective novel 'Farewell, My Lovely'. The book was later filmed in the 1970s under its original title starring Robert Mitchum. The Mitchum version is actually more faithful, but for some reason nowhere near as entertaining. 'Murder, My Sweet' tones down some of the racial and sexual aspects of the original story (which are included in the 1970s remake), and I'm might be mistaken (it's been a while since I read it), but the Anne Shirley character appears to have been created as a potential love interest for Dick Powell. She seems to have been inspired by a similar character in 'Double Indemnity' (written by James M. Cain and filmed the same year with the help of Chandler). Dick Powell was originally a crooner and casting him as Philip Marlowe was a very strange choice at the time, but it certainly works. Personally I would have preferred to see Robert Mitchum playing Marlowe in this version, but by the 1970s he was too old for the part, and comparing the two versions Powell definitely wins. Claire Trevor is also excellent as one of the definitive noir femme fatales, and her scenes with Powell are compelling. The drug sequence is also very memorable. 'Murder, My Sweet' is one of the most entertaining detective thrillers ever made, and along with 'Double Indemnity' and 'Out Of The Past' one of the very best crime movies of the 1940s.

Chandler once said that Powell was his favourite - not, naturally, his ideal - screen Marlowe. Though "Bogart is always excellent as Bogart", he wasn't Marlowe.

Claire Trevor is the classic proof of how personality is more important than looks, even in sexy parts. Short, powerfully built, coarse-featured, she comes across here as overpoweringly glamorous and alluring.

Phillip Marlowe is tired and resting in his office when Moose Malloy comes to visit him and hire him as a private detective to investigate his former lover, Velma, who has gone missing in the past 8 years that Moose has been in jail. Without a great deal of luck early on, Marlowe takes another case, escorting a Mr Marriott. When Marlowe is knocked out and Marriott murdered, things begin to get more confusing. With the police suspecting him of being involved more than he is letting on, Marlowe investigates further, getting involved in other jobs for clients who want to find Moose Malloy for some reason. Murder follows murder as Marlowe finds himself right in the middle of it with only his link to Moose keeping him alive.

Having recently seen a strange telling of this story in 'The Falcon Takes Over' I decided to go back and see the most famous version. Of course this actually involves going forward in time (the Falcon did it first by almost two years) but it is certainly a step up in quality as this version is much, much better since in the first version it was used as plot fodder within an existing formula. I have not read the book but for me everything works really well here with the right mix of plot, character and atmosphere. As I have admitted before, I'm not the smartest of men on this earth and, as a result, I do get confused by some of this type of film where the twisty plot is not that well explained (The Big Sleep always has me a bit spun) and here at times I was a bit unsure of who was what, but this comes good by the end and is clear with a satisfying ending to the piece. The atmosphere is tough considering the period and is more effective for being built tough on the characters and not by just writing lots of F words into the script. Dmytryk directs really well with the time honoured shadow and use of music, the camera also moves well even if some of the shots look a bit dated (well – it has been sixty years this year you know).

The characters are well-written and convincing. Marlowe is a dead beat – cool but not so tough and together that it takes away from his status as being a downbeat. Powell is not someone who leaps to mind when I think about the noir genre but he is very good here and gets the character really spot on. Mazurki makes Malloy his own with a firm performance that shows Moose to be strong but also manipulated by the love he totally believes in. Trevor is very good, as are Shirley and Kruger. The dialogue is sharp and tough and all of them do really well with the lines and the characters they have (making them more than pigeon-holed genre clichés) but the film mostly belongs to Powell.

Overall this is a very good film and is miles better than the first filmed version of this story. The film is atmospheric and looks great; the story is not afraid to risk losing the audience and is smart but pulls it all together and didn't lose me totally at any point. The dialogue is tough and quotable and is delivered by a collection of actors giving good performances, headed up by Dick Powell, doing his best to make us think of him first when we think of this story and the character of Marlowe.