A tough, streetwise private eye is hired by an ex-con to find a missing sweetheart. In the course of his investigation he is beaten unconscious and wakes up next to a corpse, implicating him in murder and making his job even harder, but that’s just the beginning of his troubles…
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Since BOGART we never tire of CHANDLER stories, brought to film by HAWKS, ALTMAN, WINNER === Sur la vitre dépolie "Philip MARLOWE Private Investigator". Dans le tiroir, 1 bouteille de scotch & 2 verres. Ou le flic local (Pat CHAMBERS) appelle ou 1 femme fatale entre. Depuis BOGART on ne se lasse pas des récits de CHANDLER, portés au cinéma par HAWKS, ALTMAN, WINNER ...
Casting bonus: STALLONE & Jim THOMSON himself
I would entreat you to note that Dick Richards made FAREWELL, MY LOVELY - which is a bizarre, madcap, and delightful quasi-masterpiece - the same year he made RAFFERTY AND THE GOLD DUST TWINS, which is, oh, say, my eleventh favourite American film of all time. No small feet! FAREWELL, though gussied-up, positively dressed to the nines, is nonetheless outrageously lackadaisical. It is a spree, but a loping one.
Made around the same time as The Long Goodbye but Altman knew better. Its pointless to literally adopt Chandler's text. But Robert Mitchum is great especially his voiceover.
And by the way the director is called Dick Richard, Dick Dick.
On peine à suivre l'intrigue, mais à la fin du film on se dit que ce n'est peut-être pas si grave : il y a l'ambiance, les décors, le jeu formidable de Mitchum la beauté mystérieuse de Rampling, et même Sylvester Stallone ado. Au fond, Chandler y est pour quelque chose car il est aussi limpide que ses romans sont noirs.
Philip Marlowe is old and tired, and the whole business is a lot less sexy than it used to be. There's always a little charm to even the mildly competent baroque-genre film. But with both Mitchum and Rampling, this one's a bit special.