Até a Vista, Querida

The hard-boiled dialog flies faster here than eggs at Easter. Then too, practically every line out of Marlowe's (Powell) mouth is a cynical figure of speech, making the 90-minutes one of the more corrosive in the private eye canon. No need to recap the plot since I couldn't, anyway. There're so many twists and turns on who did what to whom, you may need to call in the proverbial rocket scientist. But then, I think writer Chandler said something about reality being a lot messier than usual detective fiction. Judging from this, he wasn't kidding.

Speaking of messy, catch the great Esther Howard as old lady Florian. No one was better at sloppy slatterns than the be-robed Howard, and when she says "no peeking" to Marlowe as her robe flops open, I'll bet a wave of shudders swept across theatres everywhere. At the same time, ex-song and dance man Powell shows he could do hard cases with the best of them, that is, when he wasn't jumping helplessly into another 'black pool'. And who knew hulking thug Mazurki could go from lion to lamb so quickly. It's really he who gives the film a heart.

There's some great photography and art direction from RKO's expert production team. No wonder that studio became the one of record for post-war noir. In fact, this 1944 effort signals the emerging era of noir, bringing together the private eye and a chaotic world of shadows, as it does. I especially like those final beach house scenes, perched precariously beside a dark sea of eternity.

Anyway, the movie's a fine piece of private eye noir; just don't try to figure out the plot, which is incidental, anyhow.

"I caught the blackjack right behind my ear. A black pool opened up at my feet. I dived in; it had no bottom."- Phillip Marlowe in MURDER, MY SWEET.

There are plenty of bottomless pools in MURDER, MY SWEET, Edward Dmytryk's outstanding noir. Tapping into a direct line to the dark places of the human psyche, the film raises the curtain on one shadowy scene after another. It leads the viewer on a convoluted trip through a very gloomy and treacherous labyrinth where oily con men, pesky cops, scheming ladies, and at least one gargantuan lovesick Romeo put the down-at-heels private investigator through the wringer.

Moose Malloy's vanished girlfriend (and a tidy retainer) occupies Marlowe at first. Then, when an expensive jade necklace needs retrieving (with another fat fee offered), Marlowe bites again. But suddenly those too deep pools begin to appear.

John Paxton's screenplay has the cast of characters thinking out loud a lot, which helps occasionally. But just as in Raymond Chandler's other overly schematic crime story, THE BIG SLEEP, strict attention must be paid. Yet even if you become confused, you can still revel in Harry J. Wilde's sterling cinematography. (As mentioned in another review, Wilde, along with a slew of other people, including Orson Welles, shot additional scenes for THE MAGNIFICENT AMBERSONS for which he and the others received no credit. As Welles himself intones rather solemnly at that film's conclusion: "Stanley Cortez was the photographer").

The really big draw in MURDER is Dick Powell, not just delivering a career-changing performance (and being the first actor to play Marlowe) but also giving the best interpretation of Marlowe on film- and that includes Bogart's fine outing in Hawks' THE BIG SLEEP(1946), Robert Mitchum's two disappointing films, and Elliot Gould's daring 1973 performance in Altman's THE LONG GOODBYE. Powell projects the detective's weary cynicism and dogged determination without any hint of showy mannerism or overplayed toughness. His presence is completely natural and convincing, far from any Hollywood ham acting.

In addition, MURDER, MY SWEET presents the polished villainy of Otto Kruger, slithering around Powell with his characteristic reptilian menace; Anne Shirley as a spunky good girl who brightens the gloom somewhat; and, on the femme fatale side, the high voltage glare of Claire Trevor, laminated in heavy make-up like a pricey, megawatt doxy. Literally towering over everything is Mike Mazurki's Moose (far more effective than Jack O'Halloran's catatonic trance in Mitchum's FAREWELL, MY LOVELY). Mazurki's silent entrance into Marlowe's office at the beginning sets the uneasy mood where huge, powerful forces stir and then emerge from the darkness.

This is considered one of the classic film noirs ever made and some think THE film noir. In recognizing that before I had seen it, perhaps I was disappointed because I expected more.

What I found was a very confusing film, at least in the last third of the movie as everything started to be explained. It almost got ridiculous in the last 10 minutes when Dick Powell ("Philip Marlowe") explained the whole story. He talked too fast and it was next to impossible to follow. I guess I will have to view this more often to understand it better, or find someone who can explain it for my feeble brain.

The best part of the film was the cinematography, which really comes to life on the DVD. Someone did a very nice job restoring this film. That, and the general dialog by Powell, were fascinating. You could make a short book with all the wise-guy remarks made by "Marlowe" in this film - a lot of great stuff. I just wish they had made a simpler story and made it easier for the viewer to digest all the facts at the end.

'Murder, My Sweet' is based on Raymond Chandler's classic detective novel 'Farewell, My Lovely'. The book was later filmed in the 1970s under its original title starring Robert Mitchum. The Mitchum version is actually more faithful, but for some reason nowhere near as entertaining. 'Murder, My Sweet' tones down some of the racial and sexual aspects of the original story (which are included in the 1970s remake), and I'm might be mistaken (it's been a while since I read it), but the Anne Shirley character appears to have been created as a potential love interest for Dick Powell. She seems to have been inspired by a similar character in 'Double Indemnity' (written by James M. Cain and filmed the same year with the help of Chandler). Dick Powell was originally a crooner and casting him as Philip Marlowe was a very strange choice at the time, but it certainly works. Personally I would have preferred to see Robert Mitchum playing Marlowe in this version, but by the 1970s he was too old for the part, and comparing the two versions Powell definitely wins. Claire Trevor is also excellent as one of the definitive noir femme fatales, and her scenes with Powell are compelling. The drug sequence is also very memorable. 'Murder, My Sweet' is one of the most entertaining detective thrillers ever made, and along with 'Double Indemnity' and 'Out Of The Past' one of the very best crime movies of the 1940s.

This 1944 adaptation of Raymond Chandler's Farewell, My Lovely, had its title changed so that audiences wouldn't mistake it for a musical! One might think that this would mean that the movie was off to a bad start, especially since the chief reason for the title change was that the actor who was cast in the hard-boiled lead, Dick Powell, was best known as a singer. As things turned out, the film was a huge hit and Powell changed his screen image forever, from crooner to tough guy, and enjoyed an upturn in his career as a result. Producer Adrian Scott, director Edward Dmytryk and screenwriter John Paxton also saw their fortunes rise, but in their case the success was short-lived, as they all suffered during the Hollywood blacklist. As to the movie itself, it has become for many the definitive film noir. Produced on a tight budget on the RKO lot, it was made at the right place, the right time, at the right studio, and with the right people.

This is a movie for night owls, maybe the ultimate night owl movie, since there's scarcely any daylight in it, and when there is, the action moves sensibly indoors almost immediately, as if to avoid the glare of the sun. Night-time L.A. has never looked more seductive than here, with every bar, office, nightclub and bungalow seemingly shrouded in mystery, as if harboring secrets it's loath to reveal. Harry Wild's photography is brilliant, and while he and director Dmytryk often go for flashy, arty effects, they're always appropriate, and seem at all times the way detective Philip Marlow, who narrates the story, would want it to be told, as he's a rather glib fellow with an offbeat sense of humor. The dialogue, much of it lifted from Chandler's novel, is excellent and at times quite funny, though some of the author's best lines (such as his description of Moose Malloy as at at one point being "about as inconspicuous as a tarantula on a slice of angel food") are absent.

The plot, concerning the attempt of the aforementioned, hulking giant, Moose Malloy, to find his old girl-friend, having just served a stretch in prison, is convoluted and hard to follow. But the tale matters less than the telling, and the way it's told is what makes the movie so effective. Chandler was not a great one for plots, as one reads his books primarily for the writing, not the stories, and Dmytryk and his associates wisely follow this aesthetic, emphasizing odd bits of business, visual and verbal, often taking the movie in strange directions, making what one normally thinks of secondary aspects of a film the main event. There's a confidence in this approach, every step of the way, as the men behind the cameras knew just what they were doing. My only serious complaint has to do with the way the character of quack psychologist Jules Amthor is written ("I'm a quack"), which ought to have been more subtle, especially with such a sterling actor as Otto Kruger playing the role.

Murder, My Sweet is not without its flaws, but it wholly succeeds where it counts: making nocturnal L.A. and its inhabitants both larger than life and dream-like. The confrontation at the beach-house near the end has a dream logic to it, with Malloy, whom we had almost forgotten about, turning up, rounding out the story with a kind of poetic justice, or rather injustice, that is devastatingly effective. Dick Powell is as far as I'm concerned the best Marlow of all, as he nicely turns his musical comedy slickness into a smart-alecky private eye. That Powell is always "on", in a way that, say, the more sincere Bogart or Ladd wouldn't be, works in the movie's favor, and while I wouldn't say that he sings his lines exactly he delivers them with a singer's precision and sense of timing. Claire Trevor's femme fatale is as good as anything Stanwyck ever did. I like the affected, upper class accent she uses, especially early on. Anne Shirley is okay as her stepdaughter. Mike Mazurki's Moose, who sets the story in motion, is a forbidding figure, turning up when one least expects him, his presence can be felt even when when he isn't there, as he spurs Marlow, and the film, on, like an ugly god.