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The Long Goodbye (1973)

7/6/2012

 
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Philip Marlowe:

Terry Lennox: 

Marlowe: 


Nobody cares but me.


Well, that's you, Marlowe. You'll never learn. You're a born loser.


Yeah, I even lost my cat.



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Many Philip Marlowes have graced the film and TV screens over the years, from Dick Powell to Humphrey Bogart to Robert Mitchum to James Garner to Powers Boothe. Of all the potential actors to play Raymond Chandler’s tough yet moral Los Angeles-based private eye, I think it’s safe to say Elliot Gould would hardly be the first name to leap to people’s minds. With his rubbery face, beetle brows and slouchy, hip persona, Gould seems an odd fit for the “tarnished knight” audiences were used to seeing on screen. Yet surprisingly, he makes a solid lead in Robert Altman’s tribute to/ deconstruction of the gumshoe genre, The Long Goodbye.

That Gould works so well is partly due to Altman’s insistence on updating the 1940s-set story to the contemporary 70s; his hangdog, mumble-mouthed approach to the famous sleuth seems a better fit for the Los Angeles of the 1970s, with its naked pothead hippie chick neighbors, swanky Malibu beach parties, quack psychotherapists and Nixon-era disillusionment.

The movie opens in a relaxed, idiosyncratic fashion. We see Marlowe dealing with his insistently hungry yet finicky cat and heading out to the grocery store in the middle of the night to get it some food (along with some brownie mix for his spaced-out neighbors). Alternating with this are scenes of Marlowe’s pal Terry Lennox tooling his way through the city streets on his way to ask Marlowe  for what will turn out to be a very costly favor.


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Eileen Wade (Danish beauty Nina Van Pallandt) asks for Marlowe's help.

An interesting touch here is how several forms of the John Williams/Johnny Mercer theme song is heard in each location. We get the theme tune proper playing on Marlowe’s car radio, which shuts off when Marlowe turns off the ignition but returns in Muzak form in the supermarket scene. We also hear the tune, this time sung by a female vocalist, in Lennox’s car. Other than one other song played over the end credits (“Hooray for Hollywood”), all music in the movie follows this diagetic pattern, each version a different arrangement of “The Long Goodbye” theme.  It’s a somewhat unusual approach and gives the film a kind of subliminal, thematic unity.

After Marlowe tries unsuccessfully to fool his cat into accepting another brand of cat food (cat owners around the world will instantly relate to this scenario), Lennox arrives at his place. A note here about Marlowe’s P.I. bachelor pad. It’s at the top of an apartment building in what seems to be some part of the Hollywood Hills, with a bank of big picture windows featuring a view of not only the frequently topless wannabe starlets next door, but also a panoramic vista of L.A. itself. In this respect if in nothing else, Marlowe’s lot in life seems to have improved.


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Lennox tells Marlowe he had another fight with his rich wife, Sylvia. Marlowe greets his old buddy enthusiastically, and offers his couch for the night. But Lennox has something else in mind: he wants Marlowe to drive him to the Mexican border at Tijuana. The loyal Marlowe complies.

A tired Marlowe returns home from his long drive and is promptly accosted by a pair of homicide detectives. Seems Lennox’s wife has been murdered and Marlowe is pegged as an accessory after the fact. Marlowe refuses to tell the cops where he took Lennox and is thrown in the slammer for three whole days for his trouble (he shares his cell with a chatty con, played by a young David Carradine). He’s shocked to learn upon his release that Lennox has apparently killed himself in a Mexican hotel, a seeming admission of his guilt. A disbelieving Marlowe  gets involved in another case that, in true detective story fashion, turns out to be intimately intertwined with the Sylvia Lennox murder. He’s hired by the Lennoxes' stunning blonde neighbor, Eileen Wade (Nina Van Pallandt) to track down her missing husband, famous novelist Roger Wade (Sterling Hayden).

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Jim Bouton as Terry Lennox

Marlowe finds Wade easily enough, holed up in Dr. Verringer’s shady clinic, and sensing a scam on Verringer’s part, escorts the drunk and depressed Wade back to his wife. Rather taken by the sensuous beauty of Mrs. Wade, and concerned for the mental state of Roger, Marlowe agrees to keep an eye on things for his usual fee of "$50 a day and expenses." Marlowe can’t seem to catch a break; every time he returns to his apartment he gets another nasty surprise. The next one comes in the form of brutish gangster Marty Augustine, who says that Lennox ran off with $350,000 of his money and that he holds Marlowe personally responsible for getting the cash back.

Augustine:

Marlowe:

Augustine:

Your friend was a murderer and a thief.

That's a lie. I know he didn't kill her.

Let me tell you something else. It's a minor crime, to kill your wife. The major crime is that he stole my money. Your friend stole my money, and the penalty for that is capital punishment.

Things get even more complicated for Marlowe when he finds a brief “thank you” note from Lennox in his mailbox, along with a $5,000 bill (clearly part of Augustine's missing cash).   Even though Gould’s Marlowe is in some ways cut from a different, more hip and modern cloth than the norm, he still epitomizes the sort of dogged, honorable character that’s determined to get to the bottom of the case, no matter the risk to himself.
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Sterling Hayden as Roger Wade
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Mark Rydell as psychotic gangster Marty Augustine

The Long Goodbye is directed in the typically naturalistic, almost accidental Altman style. Vilmos Zsigmond’s cinematography seems deliberately dark and soft-focused, perhaps partly to capture a bit of a nostalgic feel, reflective of Altman’s take on the Marlowe character as out of step with his time, and also in what seems to be the director’s penchant for using natural lighting as much as possible. Altman makes good use of the Wades’ rambling beach house location (actually Altman’s own home at the time), and films several scenes through its windowpanes, where the dialogue is still audible, yet Zsigmond is able to achieve some interesting mirroring and distancing effects using the reflective qualities of the glass.

Sci-fi novelist and veteran screenwriter Leigh Brackett (who co-wrote the 1946 The Big Sleep with William Faulkner and Jules Furthman) wrote the script for Goodbye, but with all the improvisation going on, especally by Gould and Hayden, who knows how much of the final product, other than the basic plot construction, can be credited to her.
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Even knocked unconsciousness, Marlowe still keeps a grip on his cigarette.

In keeping with Altman’s patented “overlapping dialogue” style (seen to good effect in Nashville and The Player), Gould keeps a running, mumbled patter going almost nonstop. He’s basically his own Greek chorus, commenting on the absurdity of the situations he finds himself in, as well as verbally fencing with the various characters he comes into contact with throughout the story. (This reminds me of the similarly-handled, muttering character of McCabe (Warren Beatty) in Altman's earlier McCabe and Mrs. Miller (1971).

Gould has many funny moments, including this priceless bit with Harry, a newbie henchmen of Augustine assigned to follow him:

Marlowe:


Harry:

Marlowe:

Listen, Harry, in case you lose me in traffic, this is the address where I'm going. You look great.

Thank you.

I'd straighten your tie a little bit. Harry, I'm proud to have you following me.

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One of Gould’s constant refrains is “That’s OK with me.” His Marlowe, though constantly put-upon, threatened, tricked and lied to, doesn’t seem to take any of this ill treatment personally, and is laid-back almost to a fault. But when it comes to the film’s controversial ending, when he puts everything together and confronts the real killer, we see that he is indeed a man of deep feeling, and that there are some things he just won’t bear. How this finale plays out is a radical departure from the novel, one that to this day divides Chandler purists and fans alike. It also happens to be one of the most remarkable aspects of the movie. The final shots cleverly echo the 1949 Carol Reed classic, The Third Man.

Gould is in virtually every scene of the movie and anchors it with a shambling, lived-in performance, tossing off flippant one-liners and knowing asides with aplomb. In a nice touch that illustrates the character's roots in an earlier, less health-obsessed era, his Marlowe is constantly lighting up, smoking or otherwise rolling a cigarette around his mouth. Dressed in a dark blue suit and loose red tie, driving an old Lincoln Continental convertible, and with his unique code of honor and incorruptibility, his is a dishevilled yet worthy descendant of previous cinema Marlowes. 

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Nina Van Pallandt is quite good in the icy blond femme fatale role, properly alluring, mysterious and unobtainable. Sterling Hayden is striking in the small but showy part of the alcoholic Roger Wade. A big bear of a man, Hayden plays Wade as a troubled Hemingway-type figure, flailing away at fate and his dimming powers as a man and a writer. Apparently, Hayden was Altman’s second choice for the role. He wanted Dan Blocker, Hoss of Bonanza fame, which seems something of an odd choice to me but might have worked out fine; Blocker was good as the Moose Malloyesque figure in the Tony Rome sequel, Lady in Cement (1968), but I can't picture him bringing to the part the kind of vulnerability and broken-down dignity Hayden does.

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Former pro baseball player and sports writer Jim Bouton isn’t in the film much but does a fine job as Terry Lennox. Director and sometimes actor Mark Rydell is fun as the vicious little rooster of a mobster, Augustine. The scene where he bashes his mistress in the face with a Coke bottle just to prove a point to Marlowe is nastily effective. (“Her, I love. You, I don’t even like.”) An uncredited Arnold Schwarzenegger has a non-speaking scene late in the film as one of Rydell’s goons. And Henry Gibson is typically weaselly as the scheming Dr. Verringer.

In my opinion, the best incarnations of Chandler's character and hard-boiled world remain Dick Powell's dramatic career makeover, the stylish Murder, My Sweet (1944), and the terrific Howard Hawks' version of The Big Sleep (1946), with a perfectly cast Humphrey Bogart. That said, I enjoy all of the Marlowe films, including the first person POV experiment of Robert Montgomery in Lady in the Lake (1947), the drowsy-eyed Robert Mitchum in Farewell, My Lovely (1975), and James Garner in the sunny 60s update of The Little Sister, Marlowe (1969). Despite its occasionally diffuse nature and Altman's iconoclastic inclinations, The Long Goodbye fits in nicely with these other entertaining adaptations. It's a consistently engaging and atmospheric detective story, and despite its groovy 70s trappings, remains a respectable take on the old-fashioned private eye tale.

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DVD Note: MGM's Region 1 DVD of The Long Goodbye is now out-of-print and going for an exorbitant price on Amazon.com; what I assume is the same transfer can be had for cheap from Region 2. The image on the Region 1 copy is soft and often dark; how much of that is a by-product of the original filming, or a shortcoming of the DVD mastering, I have no idea. It's certainly watchable and at least anamorphically enhanced.
Clayton link
7/6/2012 12:53:22 am

"Nobody cares but me."

An apt description to begin a review of a Philip Marlowe movie starring Elliott Gould with, my friend! Mr. Gould certainly doesn't deserve you(any more than he deserved the poor Sterling Hayden)...you should be getting a check from his agent shortly. :)

I can't think of anyone less suited to play Marlowe(though the other doughy-faced Marlowe wanna-be Wayne Rogers in the '76 tv series CITY OF ANGELS, minus the name, fits that bill)...heck, in 1973, as long as we're making broad casting grabs, why not John Saxon, Cameron Mitchell, or Richard Boone? I could hang with the Matthau in THE LAUGHING POLICEMAN, but...

Sometimes good little movies get peeled off by history waiting for a good soul to discover them and spread the gospel; I mean, that's what we live for, right? Sadly, in this case, I believe we have here a gnostic film-gospel that the scribes redacted for good reason.

...I'm serious; be expecting a BIG check from "the office of Mr. Elliott Gould"!!!

...it's an amazing review! :)

Jeff
7/7/2012 04:04:49 pm

Hello Clayton,

Other than Danny Bonaduce or Wally Cox, I can barely think of anyone less qualified to play Marlowe either. However, I think his persona works surprisingly well in this movie. He seems a good match for the style of a director like Robert Altman. Though he has many funny lines, Gould tempers his usual goofiness to turn in a more serious, considered and even rather melancholy performance here.

Of course, I understand how the casting of a particular actor can be a deal breaker for someone...for example, a 5' 7" Tom cruise playing the 6' 5" bruiser Jack Reacher? Or Michael Keaton as Batman?...oh, wait, that one worked. ;)

I won't pretend to be THE LONG GOODBYE's, or Gould's, greatest defender. I think the movie is an interesting work, and succeeds, in its own slightly oddball way, thanks in part to Gould's contribution.

Appreciate the comments!

Colin link
7/6/2012 03:42:28 am

Jeff, I never liked this movie at all either. I have to agree with Clayton though, you've done a hell of a job selling it.
Generally, I'm not one who is too bothered by films wandering away from their source material but I can't get along with the ending of this picture.
However, I guess my biggest problems with the movie are a result of my not being a fan of Altman's style or Elliot Gould. Gould's whole persona just takes me out of it and I simply can't buy into him as Marlowe.
Sterling Hayden was a neat piece of casting though. Check out some of these interviews he did to see the kind of rambling expansiveness that came naturally to the man:
http://www.youtube.com/watch?v=KfjMNNGgc9U

Jeff
7/7/2012 04:20:24 pm

Hi Colin,

I understand how the ending (and Elliot Gould) might not work for you. The ending is pretty radical and can be seen to "corrupt" the otherwise moral Marlowe character. For me, the ending really is one of the most interesting and impactful elements of the movie.

As for Gould...like I told Clayton, I'm hardly his biggest fan, though I like him here and in MASH. Altman is a director whose technique I can admire if generally not get too excited by. However, I do think McCABE AND MRS. MILLER, MASH and this film are all fine works that I'm happy to revisit. I do understand how this particular director/star combination may not be to everyone's taste.

Thanks for the comments and for the link to the fascinating Hayden interview!

Sergio (Tipping My Fedora) link
7/6/2012 06:15:08 am

Terrific review Jeff and let me the first to stick up for the movie from those of us replying. I love Chandler and I love Chandler adaptations - not too crazy about the ones starring the Montgomery boys and I could live without the Michael Winner version of THE BIG SLEEP even if it is much truer to the novel than Hawks ever was - but they all have something of value. But to me THE LONG GOODBYE is a true classic of 70s cinema, from Zsigmond's pastel shades achieves by pre- and post-flashing the negative to its violent ending (which incidentally was in Brackett's draft even before Altman inherited the project from Brian G. Hutton) which seems so at odds with Chandler's original but which i think is just right for the film, without betraying the melancholy tone of the book at all. It works superbly on its own terms as a 70s reflection on the artificiality of the Hollywood Noir of the 40s refracted through the disenchantment of the Nixon era and I think Gould is quite superb in it. I would disagree though that Altman's technique is chaotic - rather, I believe it only gives that impression, being quite carefully controlled and constructed, the elaborate camera moves very carefully matching the choreographed action. The film is in fact impeccably put together (just look closely at the editing in the horrible scene with the coke bottle to see how the effect is achieved). I have the region 1 DVD and had no idea it was so rare - the extra include nice interviews with Gould, Zsigmond and Altman, who makes a classic blunder when he recounts that sadly Brackett died before the film was completed - she in fact died in 1979 and lived long enough to write the early drafts of EMPIRE STRIKES BACK!

Clayton link
7/6/2012 07:13:15 am

Sergio, you and Jeff ~almost~ make me wish I could like it!

If you liked this one, there are four Matt Frewer Sherlock Holmes tv movies just waiting fer ya! :)

I jest...but not tooo awfully much. :)

I'll double up my original Sterling Hayden thumbs-up with Colin...that interview was amazing; a cross between Lev Tolstoy and George Carlin! He's a far different cat than I know from them great westerns!

Jeff
7/7/2012 04:34:11 pm

Thanks kindly, Sergio!

While I can't say I'm quite as big a fan of GOODBYE as you are, I feel ya, man. I think Zsigmond's contribution to the effectiveness of the movie can't be overstated, and I can see what you mean about Altman's technique. He's clearly working hard - and deliberately - to achieve his "chaotic," rough hewn, almost careless effect.

That is a funny story, about Altman's commentary blunder in saying Brackett died before getting a chance to view the final film. Is Brackett on record with her views of the film, BTW? I know she wrote a few hard-boiled crime novels of her own, but I haven't read them. Judging from her science fiction and film work, I imagine they make for some good reading. She was a gem of an author.

I haven't seen THE BRASHER DOUBLOON but would like to someday, though it does sound like a minor entry in the Marlowe sweepstakes. I'm curious as to your problems with LADY IN THE LAKE, though. I watched that a few years ago and thought it was pretty great. Agreed 110% on the filmed-in-England, Robert Mitchum follow-up, THE BIG SLEEP. Good cast but what a snooze fest!

R.A. Kerr link
7/7/2012 04:29:12 am

Well-written as always. I think you have a great ability to quote the lines that tell us the most about the movie and the characters.

Jeff
7/7/2012 04:37:14 pm

That's very kind of you to say, R.A. - thanks! There were a lot of good quotes in THE LONG GOODBYE, so it was a bit difficult to select the right ones. Even the film's detractors might have some kind things to say about the script.

Sergio (Tipping My Fedora) link
7/7/2012 06:32:11 pm

Brackett at the time had only published one crime novel under her own name, NO GOOD FROM A CORPSE, which is a good read but very much an emulation of Chandler, so it's not hard to see why they asked her to adapt THE BOG SLEEP. Might see about reviewing over at my blog sometime as it's been a couple of years since I read it. The John Brahm version of THE HIGH WINDOW is perfectly entertaining and is reasonably faithful to the book (and even has Marlowe smoking a pipe) - it's just that Montgomery is intrinsically light-weight. Equally, I quite like the LADY IN THE LAKE movie, I'm just not sold of Montgomery in the role (what little you see of him - I really like Lloyd Nolan as the corrupt cop though and Audrey Totter was just gorgeous!). In an article from 1974 for TAKE ONE magazine, after the film's release, Brackett wrote:

"I'm an old Chandler fan from way back ... He was a powerful influence of my own work in those years. But I don't feel any sacrilege was being committed ... I think he might even have liked Altman's version ..."

Sergio link
7/7/2012 07:01:51 pm

Sheesh, almost referred to Chandler's little-known Irish crime story, THE BOG SHEEP - sorry for the typos ...

Jeff
7/8/2012 10:16:58 pm

Thanks for that, Sergio! I'm curious about those Bracket detective novels...hope you do get around to writing a post on them someday. Sounds like Brackett was pretty pleased with the way the GOODBYE turned out, so maybe they didn't mess with her script TOO much.

What I enjoyed about Robert Montgomery's performance in LADY IN THE LAKE was that he was so hard-bitten, smug and just plain smart-ass that he walks right up to the line of being unsympathetic. Then he gradually gets won over by Audrey Totter (I agree she's really good in this) and becomes a bit more human by the end of the film. I think it's a really interesting portrayal. Overall, I think LAKE is a nifty little private eye film and one that is unfairly neglected due to its unique format.

Clayton link
7/8/2012 02:28:25 am

I do realise you're attempting a thoughtful defence, but we're talking about Philip Marlowe, not Batman. Batman was never played Bogart or Dick Powell, for one, Batman is a comic book character made most famous on screen with ZAP! BIFF! POW!!!, and uhh...Jack Reacher who???. We are talking Philip Marlowe...there are no reasonable words to justify casting Elliott Gould.

Read these names aloud: Humphrey Bogart, Dick Powell...Elliott Gould.

Then say: Raymond Chandler.

I rest my case, but the damage is done. :) :)

Only...if Judd Hirsch or Bob Newhart played Sam Spade or Mike Hammer, please announce the review a week beforehand. :)

Wakka wakka! :) :)

Dan
7/9/2012 09:18:54 pm

Altman's take on THE LONG GOODBYE was the only viable approach In the 70s, when noir was still out of style and the PI had long-ago been supplanted by the Secret Agent. The ending offered an intriguing slant on the "loser" mentality of the films of that time (which I've commented on before) and Mark Rydell's Marty Augustine was a riveting variation on one of Chandler's most colorful characters. Next to feeble efforts like MARLOWE this is a real gem, and it can stand beside films like PJ and GUNN as worthy entries in a tradition that was going through lean times.

Jeff
7/10/2012 10:59:36 pm

Hey there, Dan! I'm inclined to agree with you re: this film's approach fitting the 70s setting well. Interesting point about the "loser" mentality in 70s film, I can definitely see what you're getting at there.

I have a much higher opinion of MARLOWE than you, but I do agree that both PJ and GUNN are worthy films in the private eye genre and wish they'd see the light of day on DVD at some point (as well as the nifty George Peppard espionage thriller, HOUSE OF CARDS.)

view site link
7/2/2013 09:37:23 pm

I saw the movie last week. Anyways I am glad that I am getting to read the reviews of the movie through this page. This page is doing a great job by providing some quality reviews about the movie. Thanks a lot for the update. I would like to revisit this page often.


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    May 2012
    April 2012

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