The Big Sleep

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

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.

I could give you a play by play run down to try and prove that the plot of this Bogie and Bacall vehicle is not one of Byzantine impenetrability, but to do so I would ironically need to present a Byzantinely impenetrable summary to demonstrate the plot's simplicity. I've developed my own beliefs on who did what to who and in what order over the years, and I would need some convincing to change my mind, but I think that is not why I turn back to this one again and again.

Initially, private detective Philip Marlowe (Bogart) is summoned to the Sternwood mansion by General Sternwood who wants Marlowe to resolve his daughter Carmen's gambling debts. But soon Marlowe is caught in a web of murder, extortion, pornography, love triangles, organized crime, and missing persons. No wonder the plot is convoluted. It would have to be so to get past the production code! All along , everyone is telling Marlowe all events resolve around Regan, but Marlowe didn't care. Instead what everyone cares about is that the Bogie and Bacall characters can live on and develop that sizzling relationship in peace. Warner Bros capitalized on the PR aspect of the event of releasing this film and made it less dark and a lot more romantic than the source material and who-killed-who became a side show instead of the core of the film.

What with Marlowe flirting or more than flirting with a book store proprietor, an eager cabby, Vivian Sternwood and her thumb sucking sister (even little Jonesy winked at him once, didn't he?), I'm surprised the private eye had the chance to solve any crimes at all. Bogart's Marlowe was sort of a '40s forerunner to James Bond as a chick magnet. It was adolescent male fantasizing, Warners style. Not only that but this Marlowe was clever enough to indulge in racetrack double entendres with a glamorous, sophisticated looking babe like Lauren Bacall. No wonder viewers aren't terribly concerned if they can figure out the convoluted plot when they can have fun, sexy times with this particular noir crowd.

So stick with this for the clever dialogue, for the atmosphere, for the weird characters, and most of all the chemistry that is Bogart and Bacall. Everything else is just window dressing.

Read all of my reviews at www.midnitcafe.blogspot.com This classic film noir has very few of techniques generally associated with noir. It contains no skewed camera angles; and though it is darkly lit, it is not overcome with murky, obscuring shadows. The hero is not down-and-out, poor, or desperate. There is no retrospective narration, or flashbacks. Yet, the Big Sleep is widely considered to be one of the very best of this genre. It is a cynical, perverse, murderous world filled with loads of confusing action and unknown motives. It is, in fact, one of the great films of one of the screens greatest actors (for my personal top 10 actors list, click here), and most talented directors.

It was directed by Howard Hawks fresh off of the successful pairing of Humphrey Bogart and Lauren Becall in To Have and Have Not. The two star here again and it is easy to see why they made another two films together. Based on a Raymond Chandler novel of the same name, many people complain that this film is incomprehensible. Somewhat famously it is reported that Bogart and Hawks, after arguing over who killed one of the characters, called up Chandler to get the correct answer. Chandler didn't have the slightest idea, for the novel is rather vague on this point. It's true that both the novel and film leave many plot points as to who did what to whom more than unclear, but there is so much style in both that it's hard to make a convincing argument against them.

A good deal of the confusion within the film comes from the production codes in effect at the time it was produced. Chandler's novel deals with murder, homosexuality, heterosexuality, and pornography. At the time, these things were deemed unfit to show on a movie screen and so Hawks had to hint at them using various subtle methods. For instance, when Carmen Sternwood (Martha Vickers) is found by detective Phillip Marlow (Bogart) in the novel she is completely nude and sitting posed for a hidden camera. Since pornography is explicitly against code, in the movie she is dressed in a silky, Japanese gown. There is still a hidden camera, and its missing film becomes a catalyst for much of the action in the film. We must infer from the exotic nature of the gown that there was more than just pictures of a woman in a gown going on. There are many similar instances in the film like this. For an audience member who has not read the book, they must pay close attention to the subtext, or the film will seem baffling.

Personally, I am very much a fan of the book, and all of Chandler's work. While I appreciate that some of the finer plot points are a bit vague in this film, I also understand that the film succeeds not in the details of the story, but in a sinister sense of style. The film oozes with a dark, disquieting atmosphere. Nearly everyone Marlowe meets is hiding something, and is of less than upstanding moral character. Hawks does a great job of keeping nearly every scene in the dark or in the rain, or both. There are so many characters coming in and out of the shadows and with their own shady character that it is difficult to keep up.

Bogart, of course, does a marvelous job as Marlowe. He seems to understand a lot more information than the audience is ever given. Chandler wrote Marlowe as a detective who sticks by his own set up morals, remaining somewhat of a noble creature trying to stay afloat amongst the muck and sewers of the city. Lauren Bacall does a very good job portraying Vivian Sternwood Rutledge, in a role that is much different than the one in the book. Like many films from this era, they create a romance that wasn't really in the source material. I don't mind though, because Bogart and Bacall really sizzle.

What can I say that hasn't been said before? This is really classic noir at its best. It's got Bogart and Bacall. It was directed by Howard Hawks, written by William Faulkner from a novel by Raymond Chandler. What more could a lover of classic cinema want? More reviews at www.midnitcafe.blogspot.com

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!)