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IMDbPro

Le grand sommeil

Titre original : The Big Sleep
  • 1946
  • Tous publics
  • 1h 54min
NOTE IMDb
7,9/10
94 k
MA NOTE
POPULARITÉ
2 935
1 212
Lauren Bacall, Humphrey Bogart, Louis Jean Heydt, Bob Steele, and Martha Vickers in Le grand sommeil (1946)
Theatrical Trailer from Warner Bros. Pictures
Lire trailer1:49
1 Video
99+ photos
CriminalitéDrameMystèreThrillerDétective dur à cuirFilm noir

Le détective privé Philip Marlowe est engagé par une famille riche. Avant que l'affaire complexe ne trouve son dénouement, il y aura des meurtres, du chantage et peut-être même de l'amour.Le détective privé Philip Marlowe est engagé par une famille riche. Avant que l'affaire complexe ne trouve son dénouement, il y aura des meurtres, du chantage et peut-être même de l'amour.Le détective privé Philip Marlowe est engagé par une famille riche. Avant que l'affaire complexe ne trouve son dénouement, il y aura des meurtres, du chantage et peut-être même de l'amour.

  • Réalisation
    • Howard Hawks
  • Scénario
    • William Faulkner
    • Leigh Brackett
    • Jules Furthman
  • Casting principal
    • Humphrey Bogart
    • Lauren Bacall
    • John Ridgely
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,9/10
    94 k
    MA NOTE
    POPULARITÉ
    2 935
    1 212
    • Réalisation
      • Howard Hawks
    • Scénario
      • William Faulkner
      • Leigh Brackett
      • Jules Furthman
    • Casting principal
      • Humphrey Bogart
      • Lauren Bacall
      • John Ridgely
    • 348avis d'utilisateurs
    • 132avis des critiques
    • 86Métascore
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 2 victoires au total

    Vidéos1

    The Big Sleep
    Trailer 1:49
    The Big Sleep

    Photos154

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    Rôles principaux52

    Modifier
    Humphrey Bogart
    Humphrey Bogart
    • Philip Marlowe
    Lauren Bacall
    Lauren Bacall
    • Vivian Rutledge
    John Ridgely
    John Ridgely
    • Eddie Mars
    Martha Vickers
    Martha Vickers
    • Carmen Sternwood
    Dorothy Malone
    Dorothy Malone
    • Acme Book Shop Proprietress
    Peggy Knudsen
    Peggy Knudsen
    • Mona Mars
    Regis Toomey
    Regis Toomey
    • Chief Inspector Bernie Ohls
    Charles Waldron
    • General Sternwood
    Charles D. Brown
    • Norris
    Bob Steele
    Bob Steele
    • Lash Canino
    Elisha Cook Jr.
    Elisha Cook Jr.
    • Harry Jones
    Louis Jean Heydt
    Louis Jean Heydt
    • Joe Brody
    Trevor Bardette
    Trevor Bardette
    • Art Huck
    • (non crédité)
    Joy Barlow
    Joy Barlow
    • Taxi Driver
    • (non crédité)
    Max Barwyn
    Max Barwyn
    • Max
    • (non crédité)
    Deannie Best
    • Waitress
    • (non crédité)
    William A. Boardway
    William A. Boardway
    • Casino Patron
    • (non crédité)
    Tanis Chandler
    Tanis Chandler
    • Waitress
    • (non crédité)
    • Réalisation
      • Howard Hawks
    • Scénario
      • William Faulkner
      • Leigh Brackett
      • Jules Furthman
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs348

    7,993.7K
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    Avis à la une

    gftbiloxi

    Interesting DVD Release of the Proto-Noir Classic

    THE BIG SLEEP has a reputation for being a film that gets lost in its own complexity and which fails to clearly identify all the perpetrators of all the murders that litter its scenes. There is a certain truth to this: like the Raymond Chandler novel on which it is based, the plot is extremely complicated, and it requires the viewer to mentally track an unexpected number of characters--including two characters that never appear on screen, a pivotal character who doesn't actually have any lines, and a character who is frequently mentioned but doesn't appear until near the film's conclusion. There is not, however, as much truth to the accusation that the film never exposes all the killers: only one killer is not specifically identified, but even so his identity is very clearly implied.

    All this having been said, THE BIG SLEEP is one helluva movie. In general, the story concerns the wealthy Sternwood family, which consists of an aging father and two "pretty and pretty wild" daughters--one of whom, Carmen, is being victimized by a blackmailer. P.I. Philip Marlowe is hired to get rid of the blackmailer, but an unexpected murder complicates matters... and touches off a series of killings by a number of parties who have covert interests in the Sternwood family.

    Perhaps the most amazing thing about the film is that you don't actually have to pick apart the complicated story in order to enjoy it. The script is famous for its witty lines and sleek sexual innuendo--much of it lifted directly from Chandler's novel--and the cast is a dream come true. Philip Marlowe would be played by a great many actors, but none of them ever bested Humphrey Bogart, who splendidly captures the feel of Chandler's original creation; with the role of Vivien Sternwood Lauren Bacall gives what might be the finest performance of her screen career; and the chemistry between the two is everything you've ever heard. The supporting cast is superlative, all the way from Martha Vickers' neurotic turn as Carmen Sternwood to Bob Steele's purring hit-man Canino. There's simply not a false note to be found any where. Although the film really pre-dates the film noir movement the entire look of THE BIG SLEEP anticipates noir to a remarkable degree--it would be tremendously influential--and director Hawks gives everything a sharp edge from start to finish.

    Two versions of THE BIG SLEEP are included on the DVD: the film as it was originally shot and the film as it was released to theatres in 1946. The actual differences between the two are fairly slight, but they prove significant. Although the original version is somewhat easier to follow in terms of story, it lacks the flash that makes the theatrical version such a memorable experience; it is easy to see why Hawks elected to rescript and reshoot several key scenes as well as add new ones, and both newcomers and old fans will have fun comparing the two. The DVD also includes an enjoyable documentary on the differences between the films and the motivations behind them.

    I don't usually comment on picture quality unless there is a glaring issue, but several reviewers have noted portions of this print have a flicker or seem a bit washed out. I noticed these problems, but I can't say that they in any way distracted from my enjoyment of the film, and they certainly don't prevent me from recommending it--be it on the big screen, television, video or this DVD. And I recommend it very, very strongly indeed.

    Gary F. Taylor, aka GFT, Amazon Reviewer
    8michaelRokeefe

    Classic Film-Noir. Murder and mayhem; and a private dick that doesn't quit.

    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.
    9secondtake

    Lots of murders never looked and sounded to good

    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.
    8Danimal-7

    My head's still spinning

    THE BIG SLEEP is one of the more entertaining private eye movies I have seen. A dying old man has two beautiful, uncontrollable daughters: Vivien (Lauren Bacall), and Carmen (Martha Vickers). Carmen is being blackmailed, and her father hires P.I. Christopher Marlowe (the beloved Humphrey Bogart) to get the blackmailer off her back. But Marlowe finds that somebody else has done this job for him: the blackmailer is murdered almost under his nose. And as he puts it, "That didn't stop things. That just starts 'em."

    I have not read Raymond Chandler's novel, on which this movie was based, but those who have say the title refers to death. That is never explained in the movie. Howard Hawks packs so much plot into 114 minutes of footage that the movie feels like it's bursting at the seams. The story is not incomprehensible as some would have it; while there are many improbable coincidences, there is no element I can point to and say "That couldn't have happened." (Although I'm still not quite sure how Carmen got into Marlowe's apartment). True, the plot really is very hard to follow, and Marlowe's periodic explanations of events, without which the movie would indeed be nonsensical, smack more of inspired guesswork than logical deduction. But the furious pace at which the plot unfolds lends more excitement to the movie than nine out of ten of today's lazily plotted would-be thrillers.

    THE BIG SLEEP's greatest strength is its delightfully droll dialogue. When Chandler writes the novel and then Faulkner helps adapt it, you expect some verbal fireworks, and you sure do get them. "How do you like your brandy?" "In a glass." - "You're not very tall, are you?" "I try to be." - "I'm getting cuter every minute." - "Such a lot of guns around town, and so few brains." - "Is it any of your business?" "I could make it my business." "I could make your business mine." "You wouldn't like it. The pay's too small." - "She tried to sit in my lap while I was standing up." Bogie and Bacall get two of the best exchanges; they have a horse-racing discussion where racy double-entendres are dripping like savory sauce off of every word, and they also get a truly hilarious telephone conversation where Marlowe convinces Vivien not to call the police.

    But THE BIG SLEEP has a harder side that is also effective. It is shockingly violent for a movie produced under the stern eyes of the Hayes code censors. The movie is too unpredictable to generate much suspense (you can't dread something you don't know is going to happen), but the ending is one of the most intense, nailbiting scenes you'll ever see.

    The 1940s were not a great era for film music, which makes Max Steiner's brooding score all the more impressive. The print I saw was very low-quality, so I can't judge the cinematography.

    The acting is wonderful. Bogart gets to show his chops at one point by switching off the hard-boiled personality he developed for THE MALTESE FALCON and impersonating an antiquarian bookworm. Bacall radiates class whether she's at ease smoking in a cafe or outwitting a man holding her at gunpoint. Martha Vickers' Carmen strikes the perfect balance of appealing seductiveness and outright nastiness.

    One final note: this movie is almost Bond-like in terms of the number of appallingly beautiful women Marlowe accidentally encounters, all of whom seem to have a burning desire for him. Even his taxi driver wants him. Dorothy Malone, whose character name we never learn, plays the sexiest book seller you will ever meet (and yes, she wears glasses; eat your heart out, Dorothy Parker!). Minus fifty points for credibility, plus a hundred points for entertainment. Regrettably, I cannot promise similar thrills for the female audience; it just kind of depends on how you like Men In Suits.

    Rating: ***1/2 out of ****.
    8DennisLittrell

    Classic private eye tale with Bogart and Bacall in fine form

    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.

    (Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Due to Humphrey Bogart's affair with co-star Lauren Bacall, his marital problems escalated during filming, and his drinking often resulted in his being unable to work. Three months after the film was finished, Bacall and Bogart were married.
    • Gaffes
      When Marlowe enters the Sternwood home, bringing Carmen Sternwood home from Geiger's house, he is not wearing his trench coat. But, as he leaves, he is given the coat by Norris, the butler, and puts it on.
    • Citations

      Philip Marlowe: She tried to sit on my lap while I was standing up.

    • Crédits fous
      During the opening credits, Humphrey Bogart and Lauren Bacall are seen in silhouette, placing cigarettes in an ashtray. At the end, two cigarettes are in an ashtray.
    • Versions alternatives
      It was filmed in 1944 but not released until two years later. Some prints derive from a slightly different early preview version with alternate footage.
    • Connexions
      Edited into Piège au grisbi (1965)
    • Bandes originales
      And Her Tears Flowed Like Wine
      (uncredited)

      Music by Stan Kenton and Charles Lawrence

      Lyrics by Joe Greene

      Sung by Lauren Bacall and The Williams Brothers

      [A band accompanies Vivian singing the song at the casino]

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    FAQ

    • How long is The Big Sleep?
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    • What is 'The Big Sleep' about?
    • Is "The Big Sleep" based on a book?
    • What does the title mean?

    Détails

    Modifier
    • Date de sortie
      • 6 août 1947 (France)
    • Pays d’origine
      • États-Unis
    • Site officiel
      • Official Facebook
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Al borde del abismo
    • Lieux de tournage
      • New York Street, Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, Californie, États-Unis
    • Société de production
      • Warner Bros.
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 250 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 25 556 $US
    • Montant brut mondial
      • 51 835 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 54 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.37 : 1

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    Lauren Bacall, Humphrey Bogart, Louis Jean Heydt, Bob Steele, and Martha Vickers in Le grand sommeil (1946)
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    By what name was Le grand sommeil (1946) officially released in India in Hindi?
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