Al borde del abismo

This classic of American cinema, actually made during the war and released in 1946, got a whole nation of young men affecting Bogey mannerisms, raising their eyebrows or showing their teeth while grimacing, and especially pulling on their earlobes while deep in thought, a smoking cigarette dangling between their lips. It was the genius of Howard Hawks, who directed, to do everything possible to make Humphrey Bogart a matinée idol, including having Lauren Bacall slump down in the car seat so as not to tower over him. With this movie a new kind of cinematic hero was created, the existential PI, a seemingly ordinary looking guy gifted with street smarts and easy courage, admired by men, and adored by women.

Hawks fashioned this, part of the Bogart legend, with a noire script penned by William Faulkner, et al., adapted from Raymond Chandler's first novel, that sparkled with spiffy lines, intriguing characters, danger and a not entirely serious attention to plot detail. Hawks surrounded Bogey with admiring dames, beginning with the sexy Martha Vickers who tries to jump into his lap while he's still standing (as Marlowe tells General Sternwood), and ending with the incomparable Lauren Bacall, looking beguiling, beautiful and mysteriously seductive. In fact, every female in the cast wants to get her hands on Bogey, including a quick and easy Dorothy Malone, bored in her specs while clerking at a book store. Hawks also employed some very fine character actors, most notably Elisa Cook Jr., and Bob Steele, the former as always, the little guy crook, (Harry Jones), and the latter, as often seen in westerns, the mindless heavy with a gun (Canino). Charles Waldron played the world-weary general and Charles D. Brown was the butler.

I was reminded somehow of the old Charlie Chan movies with the dark, mysterious, ornately-decorated interiors heavily carpeted and studded with ethnic statuettes, especially the house on Laverne Terrace that Bogey keeps coming back to, and the glass-paned doors and glass-separated cubicals of his office and others. The atmospheric L.A. created here has been much admired and imitated, cf., Chinatown (1974) and L.A. Confidential (1997), two very superior movies that continued the tradition.

In comparing this to the book, I have to say it's a little on the white-washed side, and not as clearly drawn--'confused' some have said. Of course liberties were taken with Chandler's novel to make it romantic. Chandler's novel emphasizes cynicism, and romance takes a back seat to manliness and loyalty to the client. An especially striking difference is in the character of General Sternwood's younger daughter, Carmen. She is vividly drawn in the book as something of monster, a degenerate sex kitten who would try and do just about anything. She is twice encountered butt naked by Marlowe, once in his bed. Being the sterling guy he is, he turns her away. (Right. I could do that.) Another difference is in all the sleazy details about the low-life underworld of Los Angeles that are omitted or glossed over in the film, including Geiger's homosexuality and his gay house guest, Carol Lundgren. (Of course there was a code in those days.) Bacall's character in the movie is actually a fusion of Vivian and Mona Mars from the book, made nice for movie fans. In the book, Marlowe kisses Vivian, but turns down her invitation for more intimate contact. In the movie, of course, there is no way Bogart is going to say 'no' to Bacall. In the book Marlowe seems to prefer whiskey to women.

Most of the sharp dialogue comes right from Chandler's novel, including Bogart's grinning line, 'Such a lot of guns around town, and so few brains.' Interesting is the little joke on Bogart in the opening scene. In the novel, Chandler's hero is greeted by the purring Carmen with the words, 'Tall, aren't you?' Well, the one thing Bogey ain't is tall, and so in the movie Carmen says, 'You're not very tall, are you?' Bogart comes back with, 'I try to be.' In the novel, Marlowe says, 'I didn't mean to be.'

By the way, the film features Bacall singing a forties tune and looking mighty good doing it.

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The second of the Bogey and Bacall pairings has Humphrey Bogart playing his second pulp fiction detective for the screen. Previously he had done Sam Spade in The Maltese Falcon and now he's Philip Marlowe in The Big Sleep. He's at the top of his game in both.

Bogey's been hired by Philip Waldron to get rid of a blackmailer that's got something on one of his daughters, the amoral and disturbed Martha Vickers. The older daughter Lauren Bacall intrigues Bogey a bit more when she tries to pry into exactly what Bogart is doing for her father. Seems as though a family chauffeur has gone missing a while back and the family is concerned on a number of levels.

The plot glides into the question of the missing chauffeur and Bogart meets all kinds of interesting characters before all the mysteries are solved.

The Big Sleep proved that the teaming on screen of Bogey and Bacall was no flash in the pan success that they had in Two Have and Have Not. They are surrounded with a great cast of players. Dorothy Malone got her first notice on film as a bookstore proprietor. Elisha Cook essays one of his typical roles as a luckless fall guy. John Ridgely is properly menacing as gambler Eddie Mars.

But my favorite in this film has always been Bob Steele as the vicious killer Canino who Ridgely has on retainer. Why Bob Steele wasted his time with two bit grade C westerns when he was doing work like this is beyond me. My favorite scene in The Big Sleep has always been when Bogey blasts Steele after Bacall has diverted his attention. When you hear Bogart utter those words, "over here, Canino" he was never more chilling or menacing on the screen before or after.

Set comfortably within it's time in the Forties, The Big Sleep still packs quite a wallop for today's audience. May you never have Humphrey Bogart looking to nail you for some misdeed.

Many fans of this classic film are drawn to it because of Bogie and Bacall, who do indeed make a deft acting duo. Here, Bogie plays Philip Marlowe, the tough talking, street savvy PI, who has his roots in the crime novels of writer Raymond Chandler. Bacall plays Vivian Sternwood, the adult daughter of a wealthy man. Vivian is just as tough and cagey as Marlowe. And she has a younger sister named Carmen, who seems to have fallen in with a bad crowd. It's up to Marlowe to investigate, and to save the Sternwood family from financial ruin. "The Big Sleep" is a story of blackmail, murder, multiple motives, lies, and all manner of general mayhem.

Humphrey Bogart and Lauren Bacall are certainly persuasive in their roles. I also like the script's snappy dialogue. For example, in a conversation with General Sternwood, Marlowe responds: "Hmm". Sternwood follows up: "What does that mean?" To which Marlowe fires back: "It means, hmm". Marvelous.

But the film's plot is an incoherent mess. It is hard to follow, disjointed, and has obvious lapses. Further, secondary characters (Geiger, Brody, Mars, et.al.), and their interrelationships, are poorly defined. To some extent that vagueness and lack of precision are fairly common in 1940's pulp detective stories.

The best approach to "The Big Sleep" is to engulf the relationship between Marlowe and Vivian, marvel at the acting of Bogie and Bacall, enjoy the witty dialogue, and ignore the discombobulated plot.

Howard Hawks directs Raymond Chandler's novel on the silver screen. None other than William Faulkner is primary screenplay writer. Bogart and Bacall star in this grand black and white thriller. Private eye Philip Marlowe(Bogart)is hired by a very wealthy family to protect a young woman from her own indiscretions and along the way there is murder, blackmail, car chases and gun play to deal with. Right smack in the middle of this complex case Marlowe finds time to fall in love with his client's eldest daughter(Bacall). Murder galore does not phase our cool detective with the cigarette hanging from his thin lips.

Flawless acting from Bogart and Bacall. There is a very talented supporting cast that includes Regis Toomey, Martha Vickers, Elisha Cook Jr., Bob Steele and John Ridgely. Then there is the charming Dorothy Malone that sizzles in her short time on screen. Very witty dialogue and colorful characters make this a classic among classics.

The Big Sleep (1946)

Even hardened film noir and Humphrey Bogart fans admit that this is one confusing movie. It makes sense, but it is edited down to such essentials, and it barrels along with the intensity of a bullet in a smoky canyon using overlapping dialog e and a shower of names, half of whom end up dead, it's really an impossible job for a mortal viewer.

And that's where it's aura, and magic, and legend, lie. It's a great film, and if it's flawed by its excessive velocity, it's defined by it, too. Enjoy Bogart as such, and Lauren Bacall for her sporadic appearances, and for Elisha Cook Jr. for a brief, wonderful splash. All the side characters, even the ones who are clearly only characters, are dripping with criminal drama. The photography is dark but never obscure, the action is fast but never unreasonable, and the lines are classic noir.

In fact, the dialog, if you are paying attention, is one of the gems of 1940s movies--really witty and cutting, and cunning. The movie is brilliant top to bottom, if only you could keep track of what was going on.

Suggestions: Read the plot in the Wikipedia entry before you watch the movie a second time. (The first time, just dive and and get lost. It's too much fun to care, if you can let go.) Watch Bogart's delivery, his physical presence, his wherewithal. Listen to Bacall sing (pretty darned good). Watch the amazing light and camera work (Sydney Hickox) with it's constantly moving perspective and layers of action. Follow the score (Max Steiner) which is appropriately restrained, turning just slightly when Bogart and Bacall are in scenes together.

Howard Hawks pulls of a quirky masterpiece here. You get to the end and frankly don't care too much, perhaps, about the outcome, about who survives and what their futures might hold. But that's fine, too. It might just make you want to watch it again. Good filmmaking does that.