La Valse des truands

A young girl from Kansas hires Los Angeles private detective Philip Marlowe to find her missing brother. Marlowe's investigation leads to two dead bodies and a blackmail plot concerning an actress. Decent adaptation of the Raymond Chandler novel "The Little Sister," updated to the '60s. Garner's not an ideal Philip Marlowe but he's charismatic and enjoyable to watch. He has good chemistry with Rita Moreno, who steals every scene she's in. Bruce Lee has a small but memorable part. Carroll O'Connor and Kenneth Tobey are good as a couple of cops easily frustrated with Garner. A little too mellow and lacking grit for a hardboiled detective story, though it's still entertaining. More Rockford than Marlowe. A minor quibble: there's a scene late in the film that takes place in a wooded area but is very obviously filmed on a sound stage. I probably wouldn't have thought twice about it if the movie had been made even ten years earlier but for a 1969 film it was very noticeable and fake.

Interesting variation on 'The Little Sister' by Raymond Chandler with '40's film noir replaced by a colorful and stylish '60's motif. The film does a good job of keeping certain Chandler elements in the forefront...the violent thugs, the irritable cops, and the classy woman in distress are all here, as is Marlowe, portrayed as a prototype Jim Rockford. Garner does a good job in the lead; his performance is really truer to the Marlowe character than Bogart managed in 'The Big Sleep' (but then that wasn't the point of 'The Big Sleep', now was it?). Supporting characters are, in some places, excellent, while lacking a bit in others. Carrol O'Connor, Rita Moreno, Bruce Lee (whose role was far too brief), and Sharon Farrell are either convincing or fun, but the female lead and the villainous but sympathetic killer are rather flat.

All in all, a movie I wouldn't mind owning.

Shifting Chandler's private eye to the '60s seems to work fairly well, although I still miss the film noir look of the gritty '40s melodramas with either Humphrey Bogart or George Montgomery as Marlowe. In addition, filming this one in color to take advantage of some Los Angeles locations, was not necessarily the best idea.

JAMES GARNER works well as Marlowe, although I still prefer the dry delivery of Humphrey Bogart and his one-liners in THE BIG SLEEP. But Garner is at his physical peak and makes a persuasive private detective on the trail of someone's missing brother. Along the way, he gets involved with the usual assortment of disreputable characters who occupy seedy hotel rooms and the shady side of town.

With a supporting cast that includes CARROLL O'CONNOR, JACKIE COOGAN and RITA MORENO (as a stripper), it's a stylish updating of Chandler's novel, "The Little Sister". And let's not forget BRUCE LEE who does a Karate job on Garner's office wall and furniture.

Too many of the early scenes drag and it's an hour into the story before the plot gets any livelier. In short, the plot remains rather flat and devoid of any real urgent suspense in spite of the fact that it deals with ice pick murders.

Summing up: Despite the okay performance from Garner, it remains a flabby exercise in suspense, lacking the terse quality of Chandler's stories and doesn't really perk up until the last ten minutes.

Much is said concerning the merits of re-imagining the Philip Marlowe character in the swinging sixties, bringing to it a pop culture emphasis that seems eons away from Humphrey Bogart's turn, but there's three good reasons to consider this Marlowe adaptation.

First-rate cast stars the always affable James Garner in the title character. He's a modest Marlowe, not arrogant, assuming nor especially gifted at his trade, he toils and the rewards follow (albeit with some distress involved). Lovely Gayle Hunnicutt plays the femme fatale along with little sister Sharon Farrell, while Rita Moreno trumps them both with a critical role as a stripper of more than passing resemblance to Hunnicutt.

Then there's the surprise packet, namely, Bruce Lee with just a couple of scenes, one of which involving him demolishing Garner's office like it was made of balsa wood. A perfectly timed scissor kick shatters the overhead light shade (a good foot above his own head), before he dons his sunglasses, turns on his heel and casually walks out the door he's just kicked in half. It's a stern warning to Garner to lay off, but equally hilarious in its approach of which both Lee and Garner seem aware. If you take nothing from the film, you'll always remember that scene.

And finally, if you're familiar with them, the theme tune "Little Sister" is a catchy jazz-pop song by Orpheus, the band who had four albums of jazz-psychedelic pop in the mould of what would later become the signature of Lighthouse, Chicago and others of the ilk. Great adaptation, a real time capsule of the era and well worth a look.

Following a typical Chandlerian plot involving lots of intrigue, sex, lies, booze, and violence, Garner makes a mildly charming, laid-back Marlowe, trading a fair share of witty one-liners with the policemen, toughs and many eager young women he encounters, as he tries to unravel a convoluted missing persons/blackmail/murder case. Gets an interesting edge from the sixties characters and attitudes (Marlowe's hairdresser neighbour providing light relief, the stoner hotel at the start) but staying very much in the world of sleazy hoods and wealthy stars associated with earlier Bogey takes on Chandler. Bruce Lee's performance as a toughie sent to threaten Marlowe with some spectacular chop-socky is a high-point but sadly brief, and Garner is no Bogey, and the director is no Howard Hawks. Good-ish stuff, but confused by too many personality-free characters (rather than by a complex web as in The Big Sleep), and lacking Bogart's ice-hard edge, Garner is a smooth, witty and fairly convincing Marlowe; likewise the film, fairly convincing, but no classic.