The Big Sleep (1946)

Director:

Howard Hawks

Writers:

William Faulkner (screenplay) &
Leigh Brackett (screenplay) ...

Release Date:

31 August 1946 (USA)

Genre:

Crime | Film-Noir | Mystery | Thriller

Tagline:

The type of man she hated . . . was the type she wanted !

Plot:

Private detective Philip Marlowe is hired by a rich family. Before the complex case is over, he's seen murder, blackmail, and what might be love.

Plot Keywords:

Murder | General | Private Eye | Blackmail | Private Detective

Awards:

1 win

Cast

Humphrey Bogart	...	Philip Marlowe
Lauren Bacall	...	Vivian Rutledge
John Ridgely	...	Eddie Mars
Martha Vickers	...	Carmen Sternwood
Dorothy Malone	...	Acme Bookstore Proprietress
Peggy Knudsen	...	Mona Mars
Regis Toomey	...	Chief Inspector Bernie Ohls
Charles Waldron	...	General Sternwood
Charles D. Brown	...	Norris the Butler
Bob Steele	...	Lash Canino
Elisha Cook Jr.	...	Harry Jones
Louis Jean Heydt	...	Joe Brody
rest of cast listed alphabetically:
Pat Clark	...	Mona Mars (scenes deleted)
James Flavin	...	Capt. Cronjager (scenes deleted)
Thomas E. Jackson	...	District Attorney White (scenes deleted)

Runtime:

114 min | 116 min (pre-release version)

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (RCA Sound System)

Certification:

Portugal:M/12 | New Zealand:PG | Sweden:(Banned) (original rating) | Argentina:16 | Australia:M | Australia:PG (alternate rating) | Canada:14A (video rating) | Chile:18 | Finland:(Banned) (1947-1949) | Finland:K-16 | Germany:16 | Norway:16 | Sweden:15 (re-rating) (1961) | UK:PG | USA:Approved (PCA #10625) | Iceland:12

Filming Locations:

Warner Brothers Burbank Studios - 4000 Warner Boulevard, Burbank, California, USA

Company:

Warner Bros. Pictures

Trivia:

Due to Humphrey Bogart's affair with co-star Lauren Bacall, his marital problems escalated during filming, and his drinking often resulted in his being unable to work. Three months after the film was finished, Bacall and Bogart were married.

Goofs:

Continuity: Marlowe keeps 2 guns in his car - under the dash. One's a snub-nose revolver and the other has about a six inch barrel. He uses and loses the snub-nose. Later, at Art's garage, he reaches in and grabs the larger gun. But in the exterior scenes following, he's got the snub-nose in his hand.

Quotes:

Philip Marlowe: Oh, Eddie, you don't have anybody watching me, do you? Tailing me in a gray Plymouth coupe, maybe?
Eddie Mars: No, why should I?
Philip Marlowe: Well, I can't imagine, unless you're worried about where I am all the time.
Eddie Mars: I don't like you that well.

Movie Connections:

Referenced in On the Edge of 'Blade Runner' (2000) (TV)

Soundtrack:

And Her Tears Flowed Like Wine

My head's still spinning

THE BIG SLEEP is one of the more entertaining private eye movies I have seen. A dying old man has two beautiful, uncontrollable daughters: Vivien (Lauren Bacall), and Carmen (Martha Vickers). Carmen is being blackmailed, and her father hires P.I. Christopher Marlowe (the beloved Humphrey Bogart) to get the blackmailer off her back. But Marlowe finds that somebody else has done this job for him: the blackmailer is murdered almost under his nose. And as he puts it, "That didn't stop things. That just starts 'em."

I have not read Raymond Chandler's novel, on which this movie was based, but those who have say the title refers to death. That is never explained in the movie. Howard Hawks packs so much plot into 114 minutes of footage that the movie feels like it's bursting at the seams. The story is not incomprehensible as some would have it; while there are many improbable coincidences, there is no element I can point to and say "That couldn't have happened." (Although I'm still not quite sure how Carmen got into Marlowe's apartment). True, the plot really is very hard to follow, and Marlowe's periodic explanations of events, without which the movie would indeed be nonsensical, smack more of inspired guesswork than logical deduction. But the furious pace at which the plot unfolds lends more excitement to the movie than nine out of ten of today's lazily plotted would-be thrillers.

THE BIG SLEEP's greatest strength is its delightfully droll dialogue. When Chandler writes the novel and then Faulkner helps adapt it, you expect some verbal fireworks, and you sure do get them. "How do you like your brandy?" "In a glass." - "You're not very tall, are you?" "I try to be." - "I'm getting cuter every minute." - "Such a lot of guns around town, and so few brains." - "Is it any of your business?" "I could make it my business." "I could make your business mine." "You wouldn't like it. The pay's too small." - "She tried to sit in my lap while I was standing up." Bogie and Bacall get two of the best exchanges; they have a horse-racing discussion where racy double-entendres are dripping like savory sauce off of every word, and they also get a truly hilarious telephone conversation where Marlowe convinces Vivien not to call the police.

But THE BIG SLEEP has a harder side that is also effective. It is shockingly violent for a movie produced under the stern eyes of the Hayes code censors. The movie is too unpredictable to generate much suspense (you can't dread something you don't know is going to happen), but the ending is one of the most intense, nailbiting scenes you'll ever see.

The 1940s were not a great era for film music, which makes Max Steiner's brooding score all the more impressive. The print I saw was very low-quality, so I can't judge the cinematography.

The acting is wonderful. Bogart gets to show his chops at one point by switching off the hard-boiled personality he developed for THE MALTESE FALCON and impersonating an antiquarian bookworm. Bacall radiates class whether she's at ease smoking in a cafe or outwitting a man holding her at gunpoint. Martha Vickers' Carmen strikes the perfect balance of appealing seductiveness and outright nastiness.

One final note: this movie is almost Bond-like in terms of the number of appallingly beautiful women Marlowe accidentally encounters, all of whom seem to have a burning desire for him. Even his taxi driver wants him. Dorothy Malone, whose character name we never learn, plays the sexiest book seller you will ever meet (and yes, she wears glasses; eat your heart out, Dorothy Parker!). Minus fifty points for credibility, plus a hundred points for entertainment. Regrettably, I cannot promise similar thrills for the female audience; it just kind of depends on how you like Men In Suits.

Rating: ***1/2 out of ****.