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Almost all the reviewers of the Brasher Doubloon have complained that George Montgomery was no Bogart or Powell. True. Would this film had been better with either of them playing the iconic Philip Marlowe? Of course. And while you're at it, it would have been better with Lauren Bacall as the femme fatale and Peter Lorre as the villain, etc. etc.

Get over it, not every classic film can have a Hall of Fame cast. Many movies with 'B' stars were very entertaining -- and the Brasher Doubloon is a good example.

Watch the film with fresh eyes, pretend this is NOT Raymond Chandler's Marlowe and I think you'll enjoy it more. In this film, Marlowe is younger, handsomer and more suave. The script, which many also complained about, suits the persona of the debonair George Montgomery better than the more cynical lines given Bogart and Powell.

The main actors did a good job with their portrayals, the plot keeps you guessing with some good twists, the photography is great, the outdoor locations perfect.

In sum, this is NOT the Maltese Falcon or Murder, My Sweet which are 10+. But the Brasher Doubloon is a solid 7 and well worth watching on its own merits.

Philip Marlowe, Raymond Chandler's trenchant private detective saw many incarnations on the screen big and small. Chandler like S.S. Van Dine the creator of Philo Vance sold his work to several studios and the studio cast whomever. Humphrey Bogart in The Big Sleep for Warner Brothers and Dick Powell in Murder My Sweet for RKO are the best known interpreters of Marlowe. George Montgomery in The Brasher Doubloon gets a short shrift from most film fans.

I don't think this is necessarily Montgomery's fault. The Brasher Doubloon was based on the Chandler story The High Window and unlike Warner Brothers and RKO this was meant to be a B film and was treated that way. I've never read the book, but I could tell a lot was left out in the treatment.

Montgomery is hired by the imperious Florence Bates to get back a valuable coin, The Brasher Doubloon which was the prize of her late husband's valuable coin collection. Upon arrival to her home, Montgomery is told in no uncertain terms that his services will not be needed by her son Conrad Janis. Janis plays this punk as well as Elisha Cook, Jr. ever did in this type of part.

Of course as he starts investigating bodies keep being strewn in his path and the police are blaming Montgomery for some if not all. The mother and son turn out to be some pieces of work.

The Brasher Doubloon has a good deal of its problems with the character Nancy Guild plays. She's Bates's secretary/companion who has issues and she really ought to be seeing a therapist rather than Philip Marlowe. Her character holds the key to the answers, but the character itself is ill defined in the script.

Maybe had The Brasher Doubloon gotten the A treatment it would be better received. As it is it's not a bad film, but not in the same league as the others mentioned.

In the mid-1940s Hollywood discovered Raymond Chandler: Murder, My Sweet (1944), The Big Sleep (1946) and The Lady in the Lake (1947). Also from '47, John Brahm's The Brasher Dubloon is a version of Chandler's The High Window and, unfortunately, the most disappointing of this crop. Troubles start with the running time; at 72 minutes, that's not enough time for Chandler's baroque structures to start to unfurl, unless you reduce them to mere plot (and plot is not Chandler's long suit). Second, there's George Montgomery trying to fill the shoes of Dick Powell, Humphrey Bogart and the other Montgomery, Robert. He doesn't. While he's pleasant enough -- as a light leading man -- he swallows line after line of the script smoothly where a more nuanced actor would have found a whole ham sandwich to sink his teeth into. Still, there are good points here, especially in Brahm's directing. The big old mansion with its twin, massive turrets is especially ominous with the Santa Ana winds whistling outside; Florence Bates, as its owner, knows how to grande-dame it with the best; and a striking series of sinister characters take us down meaner and ever meaner streets. With a better star and a more leisurely pace, this private-eye flick could have been a contender.

_The Brasher Doubloon_ is clearly second tier, with at least one scene in Marlowe's office copied directly (and painfully directly) from _The Maltese Falcon._ If the characters are stereotypes and Montgomery's voice over shy-making in its adolescent appreciation of Merle Davis's beauty, the pacing and plot movement are still satisfactorily brisk. Florence Bates is perfect as the crusty, port-sodden Elizabeth Bright Murdock, and the night club goons look just right. It's not a masterpiece but is a diverting hour and a half. The final revelation is ingeniously presented as it involves a film-within-the-film and the way in which this key piece of evidence for the story came into being is more concretely explained in the movie than in Chandler's original, the one way in which the motion picture is superior to the published novel.

Can't add much to what has already been said, but what this film has over some of the better known Marlowe films is some real Los Angeles location photography, which gives it a special atmosphere; the eerie Pasadena mansion with huge palm trees blowing in the wind, and a rambling old Craftsman house in the Hollywood Hills on a windy afternoon.

Among other films based on Raymond Chandler stories, "The Big Sleep," in particular, all filmed on indoor sets, has no feeling of Los Angeles at all. George Montgomery in "Brasher Doubloon" is a lightweight, but the film is fun and entertaining. Surprising that it is virtually NEVER shown on TV. I only saw it because a pal owns a 35mm print.