Il grande sonno

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.

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.

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.

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.

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.