DOCSLIB.ORG

The High Window: Classic Hard-Boiled Detective Fiction Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The High Window: Classic Hard-Boiled Detective Fiction Free FREE THE HIGH WINDOW: CLASSIC HARD-BOILED DETECTIVE FICTION PDF Raymond Chandler,Mark Billingham | 288 pages | 25 Oct 2011 | Penguin Books Ltd | 9780241956298 | English | London, United Kingdom The High Window: A Novel - Raymond Chandler - Google книги Tight, bright tale which brings back Philip Marlowe, private The High Window: Classic Hard-Boiled Detective Fiction, who is hired to find a missing coin. California the setting for a complex chain which leads back to a former suicide murder Chandler is not only the best writer of hardboiled PI stories, he's one of the 20th century's top scribes, period. His full canon of novels and short stories is reprinted in trade paper featuring uniform covers in Black Lizard's signature style. A handsome set for a reasonable price. The High Window : A Novel. Raymond Chandler. Crime fiction master Raymond Chandler's third novel featuring Philip Marlowe, the "quintessential urban private eye" Los Angeles Times. A wealthy Pasadena widow with a mean streak, a missing daughter-in-law with a past, and a gold coin worth a small fortune—the elements don't quite add up until Marlowe discovers evidence of murder, rape, blackmail, and the worst kind of human exploitation. Although he was born in Chicago, Chandler spent The High Window: Classic Hard-Boiled Detective Fiction of his boyhood and The High Window: Classic Hard-Boiled Detective Fiction in England where he attended Dulwich College and later worked as a freelance journalist for The Westminster Gazette and The Spectator. In he returned to the United States, settling in California, where he eventually became director of a number of independent oil companies. The Depression put an end to his career, and inat the age of forty-five, he turned to writing fiction, publishing his first stories in Black Mask. Never a prolific writer, Chandler published only one collection of stories and seven novels in his lifetime. In the last year of his life he was elected president of the Mystery Writers of America. He died in La Jolla, California on March 26, Raymond Chandler - Wikipedia Philip Marlowe's on a case: his client, a dried-up husk of a woman, wants him to recover The High Window: Classic Hard-Boiled Detective Fiction rare gold coin called a Brasher Doubloon, missing from her late husband's collection. That's the simple part. It becomes more complicated when Marlowe finds that everyone who handles the coin suffers a run of very bad luck: they always end up dead. That's also unlucky for a private investigator, because leaving a trail of corpses around LA gets cops' noses out of joint. If Marlowe doesn't wrap this one up fast, he's going to end up in jail - or worse, in a box in the ground. Raymond Chandler. Raymond Chandler was born in Chicago in but moved The High Window: Classic Hard-Boiled Detective Fiction England with his mother when he was twelve after his parents' divorce. He published a number of poems and essays in local papers and worked as a reporter, essayist and book reviewer before emigrating to the United States in After serving for the Canadian Army during the First World War he tried a variety of jobs before becoming a bookkeeper and auditor for Dabney Oil Syndicate. In he married Cissy Pascal. When Chandler lost his job during the Great Depression, he decided to devote himself to writing. He began writing short stories for Black Mask Magazinethe best known of the 'hard-boiled' school of pulp fiction The High Window: Classic Hard-Boiled Detective Fiction. In he published his first novel The Big Sleep to instant acclaim in Britain and the US, introducing the world to his iconic private eye, Philip Marlowe. Marlowe went on to star in almost all of Raymond Chandler's major works and with Farewell My Lovely and The Long Goodbye Chandler cemented his reputation as a giant of American popular culture and master of a style of detective fiction that would be widely admired and imitated. Chandler turned to screenwriting in with Double Indemnity and worked closely with director Billy Wilder. He continued to write for Hollywood for the next four years, during the heyday of the Hollywood studio system, receiving an Oscar nomination for The Blue Dahlia In Chandler received an Edgar Award from the Mystery Writers of America for screenplay and in for novel writing. During the last year of his life he was made President of the Mystery Writers of America. He died from pneumonia in Search books and authors. The High Window: Classic Hard-Boiled Detective Fiction from…. View all online retailers Find local retailers. The High Window is a classic novel by the master of hard-boiled crime. The High Window: Classic Hard-Boiled Detective Fiction the author Raymond Chandler Raymond Chandler was born in Chicago in but moved to England with his mother when he was twelve after his parents' divorce. Also by Raymond Chandler. Praise for The High Window. Anything Chandler writes about grips the mind from the first sentence Daily Telegraph One of the greatest crime writers, who set standards others still try to attain Sunday Times Chandler is an original stylist, creator of a character as immortal as Sherlock Holmes Anthony Burgess. Related titles. The Coast-to-Coast Murders. The Kingdom. The Thursday Murder Club. Private Moscow. James PattersonAdam Hamdy. We Are All the Same in the Dark. The Titanic Secret. Clive CusslerJack Du Brul. Past Tense. Wrath of Poseidon. Clive CusslerRobin Burcell. Moonflower Murders. I Am Pilgrim. Eight Detectives. Lost Souls. Philip PullmanChristopher Wormell. Tom Clancy's Firing Point. Either Side of Midnight. One by One. Journey of the Pharaohs. Clive CusslerGraham Brown. The Shadow Friend. The Boy from the Woods. Our top books, exclusive content and competitions. Straight to your inbox. Sign up to our newsletter using your email. Enter your email to sign up. Thank you! Your subscription to Read More was successful. To help us recommend your next book, tell us what you enjoy reading. Add your interests. The High Window: Classic Hard-Boiled Detective Fiction - Raymond Chandler - Google книги Goodreads helps you keep track The High Window: Classic Hard-Boiled Detective Fiction books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. A wealthy Pasadena widow with a mean The High Window: Classic Hard-Boiled Detective Fiction, a missing daughter-in- law with a past, and a gold coin worth a small fortune—the elements don't quite add up until Marlowe discovers evidence of murder, rape, blackmail, and the worst kind of human exploitation. Get A Copy. Paperbackpages. More Details Original Title. Philip Marlowe 3. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The High Windowplease sign up. Lists with This Book. Community Reviews. Showing Average rating 4. Rating details. More filters. Sort order. Start your review of The High Window. Nov 28, Glenn Russell rated it it was amazing. I marvel at his perceptiveness and cleverness. Can anybody surpass Marlowe in his ability to see all the angles, to size people up, to catch all the clues, to ask the right questions, to crack wise at those times cracking wise is the wisest, to put the puzzle together so all the pieces fit in place? Maybe Sam Spade or other top dog dicks The High Window: Classic Hard-Boiled Detective Fiction that's about The High Window: Classic Hard-Boiled Detective Fiction. Oh, clever Odysseus, who fooled the Cyclopes, who heard the song of the Sirens and lived to tell the tale, Raymond Chandler gave you a rebirth as a private eye. For anybody unfamiliar The High Window: Classic Hard-Boiled Detective Fiction Chandler, here is a snatch of dialogue taking place in Marlowe's office when a member of a very rich family comes to speak with the detective: He looked me over without haste and without much pleasure. He blew some smoke delicately and spoke through it with a The High Window: Classic Hard-Boiled Detective Fiction sneer. He sat down. He leaned back in his chair with the smile of a bored aristocrat. Here is another bit of dialogue where Marlowe watches from behind a curtain as a shady nightclub manager speaks to his wife after they find his wife's boyfriend shot in the head: Silence. Then the sound of a blow. The woman wailed. She was hurt, terribly hurt. Hurt in the depths of her soul. She made it rather good. I've been in pictures. I'm a connoisseur of ham. Skip it. You're going to tell me how this was done if I have to drag you around the room by your hair. Now - did you wipe off the gun? Two cases in point: when the name Heathcliff is mentioned, he knows the character is from Wuthering Heights and when someone shows him entries in a diary, he alludes to the Diary of Samuel Pepys. This contrast between the crime and social grime of s Los Angeles and the presence of Philip Marlow gives Chandler's work real The High Window: Classic Hard-Boiled Detective Fiction depth. There are The High Window: Classic Hard-Boiled Detective Fiction of authors, some very good, who have written detective fiction or crime fiction but what sets Raymond Chandler apart is the polished literary language matching any American author, including the likes of F.
Load more

Recommended publications
  • Strangers in Purgatory: on the “Jewish Experience,” Film Noir, and Émigré Actors Fritz Kortner and Ernst Deutsch Marc Svetov April 23, 2017
    Enter your search... ABOUT ARTISTS MOVIES GENRES TV & STREAMING BOOKS CONTRIBUTORS SUBSCRIBE ADS 3 ACTORS & PERSONALITIES · NOIR · WAR Strangers in Purgatory: On the “Jewish Experience,” Film Noir, and Émigré Actors Fritz Kortner and Ernst Deutsch Marc Svetov April 23, 2017 BLFJ Flip by BLFJ Read Magazine LINKS Ernst Deutsch in The Third Man (screenshot) Weird Band Names An examination of two of these émigrés – Fritz Kortner and Ernst Deutsch, major Central European actors, very well known in their home countries before leaving them in duress, both of whom relocated to Hollywood – offers exemplary lessons of what it meant for artists to be forced to leave Europe. * * * Two German Jews are sitting in a Berlin park Vouchers for Top UK Stores in the early years of the Nazi rule. One of them is reading the Völkische Beobachter, the Nazi rag. The other German Jew is reading the Jewish Aufbau and is slowly getting excited. Finally, he asks his countryman, “Why are you reading that Jew-baiting rag?” The first German Jew stares at the floor a few seconds, then replies: “Look here. What’s printed in your newspaper? Everywhere Jews are refugees. They persecute us. They kill us. They are burning down our synagogues, seize our property and ban us from our professions. When I’m reading the Nazi paper, I read: ‘Jews own the banks!’, ‘Jews own all the big corporations!’, ‘Jews are so smart and clever they control the world!’ I tell you it makes me feel great!” I was reminded of this classic Jewish joke while reading Vincent Brook’s Driven to Darkness (2009), about the influence of the “Jewish experience” on film noir.
    [Show full text]
  • The Problem Body Projecting Disability on Film
    The Problem Body The Problem Body Projecting Disability on Film - E d i te d B y - Sally Chivers and Nicole Markotic’ T h e O h i O S T a T e U n i v e r S i T y P r e ss / C O l U m b us Copyright © 2010 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data The problem body : projecting disability on film / edited by Sally Chivers and Nicole Markotic´. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1124-3 (cloth : alk. paper)—ISBN 978-0-8142-9222-8 (cd-rom) 1. People with disabilities in motion pictures. 2. Human body in motion pictures. 3. Sociology of disability. I. Chivers, Sally, 1972– II. Markotic´, Nicole. PN1995.9.H34P76 2010 791.43’6561—dc22 2009052781 This book is available in the following editions: Cloth (ISBN 978-0-8142-1124-3) CD-ROM (ISBN 978-0-8142-9222-8) Cover art: Anna Stave and Steven C. Stewart in It is fine! EVERYTHING IS FINE!, a film written by Steven C. Stewart and directed by Crispin Hellion Glover and David Brothers, Copyright Volcanic Eruptions/CrispinGlover.com, 2007. Photo by David Brothers. An earlier version of Johnson Cheu’s essay, “Seeing Blindness On-Screen: The Blind, Female Gaze,” was previously published as “Seeing Blindness on Screen” in The Journal of Popular Culture 42.3 (Wiley-Blackwell). Used by permission of the publisher. Michael Davidson’s essay, “Phantom Limbs: Film Noir and the Disabled Body,” was previously published under the same title in GLQ: A Journal of Lesbian and Gay Studies, Volume 9, no.
    [Show full text]
  • Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
    INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room.
    [Show full text]
  • The Yale University Brasher Doubloon
    THE YALE UNIVERSITY YALE UNIVERSITY NEW HAVEN CONNECTICUT OFFICE OF THE PRESIDENT December 9, 1980 Yale's Numismatic Collection is one of the oldest of the special collections that are such important assets of the University. Its long history has been marked by many changes and one crisis, the great robbery of May, 1965. While relatively few of its total holdings were taken, those few represented a great deal of the commercial value of the Collection. The only coin recovered by the University was its famous Brasher Doubloon. Now, to help alleviate the financial stringency which has come to Yale, the decision has been made, painfully and after much con- sideration, to sell the Yale Brasher Doubloon. The high concentration of value in this single object and the security problems attendant to its being placed on public exhibition have weighed heavily in our deliber- ations. The history of the coin is exhaustively presented in this brochure published by the distinguished firm appointed for the purpose of the sale. A. Bartlett Giamatti / STACK’S OFFERS FOR SALE THE YALE UNIVERSITY BRASHER DOUBLOON He placed my card face down on his desk. “What can I do for you, Mr. Marlowe?" ” “Tell me about the Brasher Doubloon. “Ah yes, ” he said. “The Brasher Doubloon, hi some ways the most interesting and valuable of all early American coins. As you no doubt know. ” “What I don’t know about early American coins you could almost crowd into the Rose Bowl. ” Raymond Chandler, “The High Window. ” W/W orty years ago Raymond Chandler was a successful practitioner in cs ^—L /the field of popular crime fiction.
    [Show full text]
  • DUISTER VERLEDEN 2 PULPFICTION SCHRIJVERS WESTERNS NOIRS EN ANDERE VERHALEN © Copyright & Verantwoordelijke Uitgever Walter A.P
    Walter A.P. Soethoudt DUISTER VERLEDEN 2 PULPFICTION SCHRIJVERS WESTERNS NOIRS EN ANDERE VERHALEN © Copyright & verantwoordelijke uitgever Walter A.P. Soethoudt Walter A.P. Soethoudt DUISTER VERLEDEN 2 Pulpfiction schrijvers westerns noirs en andere verhalen De consequenties van onze goede daden achtervervolgen ons onverbiddelijk en zijn vaak moeilijker te dragen dan die van onze slechte. Marie von Ebner-Eschenbach INHOUD DEEL 1 Pulpfiction schrijvers 7 Cornell Woolrich: poëet van de schaduwen 9 Robert Bloch: De meester van het kwaad 69 Marjorie Bowen: kon met haar pen nauwelijks haar geest volgen 145 Charles Einstein: terwijl de stad slaapt 175 Charles Francis Coe: toen noir nog drama werd genoemd 187 Lionel White: gesmaakt door de avant-garde 201 Lucy Malleson: de vrouw die verstoppertje speelde 217 Chandler in Hollywood 233 Tiffany Thayer: poltergeisten en andere abnormale fenomenen 299 Leo Rosten: de waarheid is vreemder dan fictie 327 Rufus King: dramatische voorloper 341 Cyril McNeile: De schrijver van Bulldog Drummond was 367 geen nette heer DEEL 2 391 Westerns noirs Van Rio Bravo, Rio Lobo, El Dorado tot Les insoumis 393 Luke Short: De cowboy die een zwartkijker was 409 C.S. Boyles, jr.: Een man met vele namen 421 Niven Bush 427 Jesse en Frank James: populaire boeven 435 Sam H. Rolfe: Het begin van een grote vriendschap 439 Stuart N. Lake: hield Wyatt Earp in leven 441 6 duister verleden 2 DEEL 3 Andere filmverhalen 455 Pierre Louÿs: De vrouw en de ledenpop 457 De Shaffer tweeling 473 De wind in de wilgen 479 De laatste dagen van Pompeii 485 Wat gebeurde er met A Month in the Country? 489 The Yellow Rose of Texas 495 Ieder zijn vergif 505 DEEL 1 PULPFICTION SCHRIJVERS Cornell Woolrich: poëet van de schaduwen “I want her back.
    [Show full text]
  • Raymond Chandler Fredric Jameson
    RAYMOND CHANDLER The Detections of Totality FREDRIC JAMESON RAYMOND CHANDLER RAYMOND CHANDLER N The Detections of Totality FREDRIC JAMESON Y VERSO London • New York First published by Verso 2016 ©Fredric Jameson 2016 All rights reserved The moral rights of the author have been asserted I 3 57 9 10 8 6 4 2 Verso UK: 6 Meard Street, London WIF OEG US: 20 Jay Street, Suite 1010, Brooklyn, NY 11201 versobooks.com Verso is the imprint of New Left Books ISBN-13: 978-1-78478-216-0 ISBN-13: 978-1-78478-215-3 (US EBK) ISBN-13: 978-1-78478-217-7 (UK EBK) British library Cataloguing in Publication Data A catalogue record for this book is available from the British Library library of Congress Cataloging-in-Publication Data Jameson, Fredric. Raymond Chandler : the detections of totality I Fredric Jameson. pages em ISBN 978-1-78478-216-0 (hardback) 1. Chandler, Raymond, 1888-1959-Criticism and interpretation. I. Title. PS3505.H3224Z676 2016 813'.52-dc23 2015029738 Typeset in Adobe Garamond Pro by MJ&N Gavan, Truro, Cornwall Printed in the US by Maple Press In memory of George Herring Contents Shill Game 1 2 Mapping Space 31 3 The Barrier at the End of the World 57 Chapter I Shill Game I A long time ago when I was writing for the pulps I put into a story a line like "He got out of the car and walked across the sun-drenched sidewalk until the shadow of the awning over the entrance fell across his face like the touch of cool water." They took it out when they published the story.
    [Show full text]
  • How to Cite Complete Issue More Information About This
    Palabra Clave ISSN: 0122-8285 Universidad de La Sabana Cattrysse, Patrick Cultural Transduction and Adaptation Studies: The Concept of Cultural Proximity Palabra Clave, vol. 20, no. 3, 2017, July-September, pp. 645-662 Universidad de La Sabana DOI: https://doi.org/10.5294/pacla.2017.20.3.3 Available in: https://www.redalyc.org/articulo.oa?id=64954578003 How to cite Complete issue Scientific Information System Redalyc More information about this article Network of Scientific Journals from Latin America and the Caribbean, Spain and Journal's webpage in redalyc.org Portugal Project academic non-profit, developed under the open access initiative Cultural Transduction and Adaptation Studies: The Concept of Cultural Proximity Patrick Cattrysse1 Recibido: 2016-08-25 Aprobado por pares: 2016-10-12 Enviado a pares: 2016-08-25 Aceptado: 2017-02-17 DOI: 10.5294/pacla.2017.20.3.3 Para citar este artículo / to reference this article / para citar este artigo Cattrysse, P. (2017). Cultural transduction and adaptation studies: The concept of cultural proximity. Palabra Clave, 20(3), 645-662. DOI: 10.5294/pacla.2017.20.3.3 Abstract This paper looks at the concept ofcultural proximity, as suggested by Jo- seph Straubhaar in his 1991 paper Beyond Media Imperialism: Assymmet- rical [sic] Interdependence and Cultural Proximity. It argues that, based on a polysystem study of film noir adaptations from the early 1990s, both cultur- al proximity and distance may either enhance or inhibit the cross-cultural or cross-generic flow of media content depending on some specific condi- tioners such as the stability or instability (e.g., success or lack thereof) of the target genre or context and the conservative or innovating function of the ad- aptations in their target context.
    [Show full text]
  • The Family Tree of the Film Noir
    Paint It Black: The Family Tree of the Film Noir Raymond Durgnat (1970) In 1946 French critics having missed Hollywood films for five years saw suddenly, sharply, a darkening tone, darkest around the crime film. The English spoke only of the "tough, cynical Hammett-Chandler thriller," although a bleak, cynical tone was invading all genres, from The Long Voyage Home to Duel in the Sun. The tone was often castigated as Hollywood decadence, although black classics are as numerous as rosy (Euripides, Calvin, Ford, Tourneur, Goya, Lautreamont, Dostoievsky, Grosz, Faulkner, Francis Bacon). Black is as ubiquitous as shadow, and if the term film noir has a slightly exotic ring it's no doubt because it appears as figure against the rosy ground of Anglo-Saxon middle-class, and especially Hol- Iywoodian, optimism and puritanism. If the term is French it's no doubt because, helped by their more lucid (and/or mellow, or cynical, or decadent) culture, the French first understood the full import of the American development. Greek tragedy, Jacobean drama and the Romantic Agony (to name three black cycles) are earlier responses to epochs of disillusionment and alienation. But the socio-cultural parallels can't be made mechanically. Late '40s Hollywood is blacker than '30s precisely because its audience, being more secure, no longer needed cheering up. On the other hand, it was arguably insufficiently mature to enjoy the open, realistic discontent of, say, Hotel du Nord. Look Back In Anger, or Norman Mailer. The American film noir, in the narrower sense, paraphrases its social undertones by the melodramatics of crime and the underworld; Scarface and On the Waterfront mark its limits, both also "realistic" films.
    [Show full text]
  • Descriptive and Normative Norms in Film Adaptation: the Hays Office and the American Film Noir Patrick Cattrysse
    Document generated on 10/01/2021 7:29 p.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Descriptive and Normative Norms in Film Adaptation: The Hays Office and the American Film Noir Patrick Cattrysse La Critique cinématographique Article abstract Volume 6, Number 2-3, Spring 1996 The study of the normative and descriptive rules of adaptation in the American film noir replaces the usual textual analysis with an intersystemic analysis of URI: https://id.erudit.org/iderudit/1000978ar the process of adaptation. Avoiding in this way an evaluation of the accuracy of DOI: https://doi.org/10.7202/1000978ar the film with respect to the novel makes it possible to examine how certain social norms and certain narrative models will determine the passage from the See table of contents written text to the screen. Publisher(s) Cinémas ISSN 1181-6945 (print) 1705-6500 (digital) Explore this journal Cite this article Cattrysse, P. (1996). Descriptive and Normative Norms in Film Adaptation: The Hays Office and the American Film Noir. Cinémas, 6(2-3), 167–188. https://doi.org/10.7202/1000978ar Tous droits réservés © Cinémas, 1996 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research.
    [Show full text]
  • The Philip Marlowe Novels of Raymond Chandler
    The Philip Marlowe novels of Raymond Chandler The Marlowe Novels The Lady in the Lake [1943] The Big Sleep [1939] In The Lady in the Lake, hardboiled crime fiction master Raymond Chandler A dying millionaire hires private eye brings us the story of a couple of Philip Marlowe to handle the missing wives—one a rich man's and blackmailer of one of his two one a poor man's—who have become troublesome daughters, and Marlowe the objects of Philip Marlowe's finds himself involved with more than investigation. One of them may have gotten a Mexican extortion. Kidnapping, pornography, divorce and married a gigolo and the other may be dead. seduction, and murder are just a few of the complications Marlowe's not sure he cares about either one, but he's he gets caught up in. not paid to care. Farewell, My Lovely [1940] The Little Sister [1949] This novel, which Chandler regarded as In noir master Raymond Chandler’s The his finest work, has Marlowe dealing Little Sister, a movie starlet with a with the Los Angeles gambling circuit, a gangster boyfriend and a pair of siblings murder he stumbles upon, and three with a shared secret lure private eye very beautiful but potentially deadly Philip Marlowe into the less than women. Marlowe's about to give up on glamorous and more than a little a completely routine case when he finds himself in the dangerous world of Hollywood fame. Chandler's first wrong place at the right time to get caught up in a murder foray into the industry that dominates the company town that leads to a ring of jewel thieves, another murder, a that is Los Angeles… fortune-teller, a couple more murders, and more corruption than your average graveyard The Long Goodbye [1953] The High Window [1942] In noir master Raymond Chandler's The Long Goodbye, Philip Marlowe befriends A wealthy Pasadena widow with a mean a down on his luck war veteran with the streak, a missing daughter-in-law with a scars to prove it.
    [Show full text]
  • Classic Film Noir According to Critical Consensus
    APPENDIX A Classic Film Noir According to Critical Consensus 1 9 4 0 Stranger on the Third Floor 1 9 4 1 Among the Living Citizen Kane High Sierra The Maltese Falcon 1 9 4 2 Casablanca The Glass Key This Gun for Hire Street of Chance 1 9 4 3 Journey into Fear Shadow of a Doubt 1 9 4 4 Christmas Holiday Double Indemnity Laura The Mask of Dimitrios Murder, My Sweet Phantom Lady 1 9 4 5 Conflict Cornered Detour The House on 92nd Street Mildred Pierce Ministry of Fear 196 ● Appendix A Scarlet Street Uncle Harry The Woman in the Window 1 9 4 6 The Big Sleep The Blue Dahlia Crack-Up The Dark Corner The Dark Mirror Deception Fallen Angel Gilda The Killers Notorious The Postman Always Rings Twice A Stolen Life The Strange Love of Martha Ivers The Stranger Suspense 1 9 4 7 Body and Soul Boomerang The Brasher Doubloon Brute Force Crossfire Dark Passage Dead Reckoning Framed The High Wall Johnny O’Clock Kiss of Death Lady in the Lake The Locket The Naked City Nightmare Alley Out of the Past Possessed Railroaded Ride the Pink Horse They Won’t Believe Me The Web 1 9 4 8 The Big Clock Call Northside 777 Appendix A ● 197 Cry of the City The Dark Past A Double Life I Walk Alone Key Largo Kiss the Blood Off My Hand The Lady from Shanghai The Night Has a Thousand Faces Road House Sorry, Wrong Number T-Men They Live by Night 1 9 4 9 The Accused The Bribe Champion City Across the River Criss Cross He Walked by Night House of Strangers The Reckless Moment The Set-Up The Third Man The Undercover Man White Heat The Window 1 9 5 0 The Asphalt Jungle Caged Convicted D.
    [Show full text]
  • Reading the Still Photograph in Film Noir
    Snap Me Deadly: Reading the Still Photograph in Film Noir Nancy West and Penelope Pelizzon "In the photograph something has posed.. and has remained there forever, . but in cinema, something has passed. the pose is swept away and denied by the continuous series of images. " —Roland Barthes, Camera Lucida Introduction Photography appears everywhere in film noir, its stunning range of tech­ nologies matched by the frequency with which photographic images crop up as plot devices in well-known films such as Shadow of a Doubt (1942), Murder, My Sweet (1944), The Big Sleep (1946), and Call Northside 777 (1948) and in less-familiar pictures, including / Wake up Screaming (1942), Nocturne (1946), The Brasher Doubloon (1947), and Beware, My Lovely (1952). The impressive volume of these titles is matched, moreover, by the multiplicity of photographic practices film noir spotlights, including photojournalism, courtroom procedure, forensics, publicity photos, glamour shots, X-rays, snapshots, pornography, and military observation. These films, and their interest in particular photographic genres and practices, are part of what we describe as film noir's photographic 0026-3079/2002/4302-073$2.50/0 American Studies, 43:2 (Summer 2002): 73-101 73 74 Nancy West and Penelope Pelizzon fix.1 In what we estimate to be one-fifth of the roughly 500 films that comprise the classic noir canon, photography appears as a crucial element in the film's narrative and thematic development, making film noir the only genre to consis­ tently—we might even say obsessively—return to its parent medium. Much as criminals are reputed to haunt the scenes of their crimes, film noir persistently returns to the still photograph as a site of meditation, asking viewers to consider photography's place in modern American life.
    [Show full text]