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Der Tod kennt keine Wiederkehr

The Long Goodbye

USA, 1973
Krimi, Drama, Thriller

Darum geht's

In the middle of the night, private eye Philip Marlowe drives his friend Terry Lennox to the Mexican border. When Marlowe returns home police are waiting for him and learns that Terry’s wife Sylvia has been killed. He’s arrested as an accessory but released after a few days.

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Der Tod kennt keine Wiederkehr Regie Robert Altman
According to Altman, the core conceit — if the film has a center, it’s this Idea - is the transplanting of Marlowe, preeminent private dick of the original noir cycle, to sunny post‘68 southern California, up to his neck in nudist yogis and conspicuous consumption. It’s an amusing concept, but Gould mucks it up with a performance that’s less tragic hero and more muttering, Pynchonian weirdo.
June 25, 2017
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Altman may not offer up a period piece in the vein of THIEVES LIKE US, but he faithfully hews to the contours of Chandler’s novel. Casting Elliot Gould is a masterstroke, but he further displays his genius for casting by using Henry Gibson and Mark Rydell to manifest two complimentary shades of evil. There’s never been a more Chandlerian “old man” than Sterling Hayden. And you know what? The film’s ending is better.
April 25, 2014
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Altman’s camera is perpetually prowling, scuttling, weaving volatile textures, then it becomes a pretty moll’s face and gets a bottle smashed across it. At one point, he languidly zooms through a glassy door in a triangular composition (arguing couple inside the seaside home, Marlowe by the distant surf), changing focus for a Hockney effect.
August 12, 2013
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