Embrouille à Poodle Springs

He is a good actor though and definitely tries. Marlowe fans such as myself have to remember that Chandler never finished this novel because of failing health and Robert Parker, of SPENSER fame, tries to. Sadly he doesn't have Chandler's descriptive ability nor does he really grasp the character. Tom Stoppard, a very good playwright, should stick to that medium. Worth collecting for the history of Chandler/Marlowe.

The screen play Stoppard wrote from the credited Chandler/Parker novel is not bad, if far fetched, but not as good as the source. As a tough guy P.I. flic, this borders on fantasy, what with the additions and changes Stoppard made. Why the name changes, by the way? Linda Potter becomes Laura Parker, and Angel's character is reversed. Palm Springs, aka Poodle Springs winds up on the Nevada border. About the only thing not changed is the killer, and you'll have to see the film to find that out. Well, Caan makes a good Marlowe, looking satisfactorily battle worn, and the rest of the cast won't disappoint you. Direction is fair, but the editing is as lousy as usual for these days. Overall, this is an enjoyable private eye tale, if you can forget the novel, but that hare-brained conspiracy to move...; but hey, I'm about to give away too much!

This film is not really bad, per se, but it failed to engage as much as the material might have. James Caan does an excellent job with the role of Marlowe, but I feel that he was clearly too old. Dina Meyer and Julie Campbell were just okay, and Nia Peeples was good in a small part. Good photography and sets, evoking 1963 pretty well. I suppose that it's an okay attempt at modern film noir, but it seems to be missing something.

The late Raymond Chandler's unfinished manuscript POODLE SPRINGS, masterfully completed as a novel by SPENCER creator Robert B. Parker, has been given a first-class screen treatment by Director Bob Rafelson, Screenwriter Tom Stoppard and Production Designer Mark Friedberg. Every familiar signature trait of the Chandler-Marlowe Los Angeles is meticulously recreated and served up with nearly reverential devotion. James Caan is a letter-perfect Marlowe. The part fits him like his gray fedora, no small feat considering he follows in the shoes of such legends as Humphrey Bogart and Robert Mitchum. From matchbooks to automobiles to motels the period atmosphere is extraordinary. When a character drinks a Tab cola, the bottle is a 1963 Tab bottle. When Marlowe pays a call on the rich and powerful, the decor is '63 chic. There is no mistaking it.

Phillip Marlowe is the paradigm 1940s private investigator, but setting this story in 1963, four years after Chandler's death in 1959, is not only correct, it is part of the material's distinguished treatment. Had Chandler lived a few more years, this might well be the Marlowe he wrote for us. Parker, Rafelson and Stoppard have honored the Chandler-Marlowe heritage as the golden fleece of the American film noir and hard-boiled genres. Which, of course, it is.

One question: Why did I just happen to catch this on cable TV a year after it was released? I'd never heard anything about it. Such excellent work deserves publicity. Lots of it.

Not really a bad movie, James Caan is is always good though for some reason I couldn't quite see him as Marlowe, maybe it was the hair. I am probably being unfair. The movie is from the unfinished novel by Raymond Chandler finished by Robert B Parker. Having read the finished novel and being a Chandler fan the finished treatment of the novel just didn't set right with me. But that being said the movie was not a bad detective story. Why was Linda changed to Laura? Oh well.