L.A. private eye Philip Marlowe takes on a blackmail case…and a trail peopled with murderers, pornographers, nightclub rogues, the spoiled rich and more. Humphrey Bogart plays Raymond Chandlers’ legendary gumshoe and director Howard Hawks serves up snappy character encounters (particularly involving Lauren Bacall), brisk pace and atmosphere galore in the certified classic. –Warner Bros.
Although John Ford—his friend, contemporary, and the director arguably closest to him in terms of his talent and output—told him that it was he, and not Ford, who should have won the 1941 Best Director Academy Award (for Sergeant York (1941)), the great Hawks never won an Oscar in competition and was nominated for Best Director only that one time, despite making some of the best films in the Hollywood canon. The Academy eventually made up for the oversight in 1974 by voting him an honorary Academy Award, in the midst of a two-decade-long critical revival that has gone on for yet another two decades. To many cineastes, Howard Hawks is one of the faces of American film and would be carved on any film pantheon’s Mt. Rushmore honoring America’s greatest directors, beside his friend Ford and Orson Welles (the other great director who Ford beat out for the 1941 Oscar). It took the French “Cahiers du Cinema” critics to teach America to appreciate one of its own masters, and it was… read more
In this fiendishly complex whodunit Hawks takes advantage of the sizzling chemistry between Bogie and Betty that he first tapped into on To Have And Have Not. Chandler's famous private dick Marlowe would be brought to the screen in many incarnations but none more effective than Bogie's iconic portrayal. The plot is irrelevant; just revel in the scintillating dialogue and the directorial touches of a master craftsman.
It's all about Bogie (being Bogie the entire film) and Bacall (sexy as hell). This is not the kind of chemistry we see all the time: they're unique and the looks, the gestures and, most of all, the dialogues are immaculately wonderful. The storytelling is way too cracked, but who cares? One of my favorite noir films, with no doubt.
Noir clássico do mais eclético diretor, À BEIRA DO ABISMO é um filme que prende o espectador do primeiro momento até o final. Menos sobre resultados e mais sobre métodos, a história de chantagem e assassinatos tem tantas reviravoltas e surpresas que pode parecer um pouco confusa, mas impressiona pelo ritmo, pela química entre Bogart e Bacall e, principalmente, pela precisão dos diálogos afiados | Cecília Barroso
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“Year Zero,” the term from Rossellini, might be Godard’s favorite mantra, signaled in Made in USA, stated throughout the ’70s, and situated neatly
Howard Hawks wanted to make a comedy, the Broadway hit ‘Dark Eyes’, after ‘To Have and Have Not’ but couldn’t get the casting right, and resisted pairing Bogie and Bacall, then in the start up phase… read review
Once again, at the orders of the great Howard Hawks, Bogie and Bacall throw off sparks whenever they share a scene in this brilliant adaptation of Raymond Chandler’s classic novel.
A complex plot… read review