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The Long Goodbye I 1973 Directed by Robert Altman
TCM BREAKFAST CLUB SCREENING The Long Goodbye I 1973 Directed by Robert Altman With characteristic fearlessness, director Robert Altman dared to offend the purists with his 1970s interpretation of the Raymond Chandler classic The Long Goodbye (1973). It turned out to be a triumph for both him and its star, Elliott Gould. TCM writer David Humphrey assesses the film and describes it as a fine tribute to Altman, who died on November 20 at the age of 81. Raymond Chandler devotees were perhaps entitled to feel screen, and plainly gave priority to injecting comedy into the nervous at the news that Elliot Gould had been cast as Philip persona of Chandler’s sardonic, hardbitten private detective. For Marlowe in the 1973 movie The Long Goodbye. Bogart may have Brackett it was a return to familiar territory, as he had co-written been dead for 16 years, but many believed – and still do – that the script for Chandler‘s The Big Sleep (1946) with Bogie as his Marlowe was the definitive one. Anyone else taking the role Marlowe, 27 years earlier. The tale is satisfyingly labyrinthine in of the LA gumshoe would be like Rumpole without Leo McKern, the Chandler tradition: chain-smoking private eye Marlowe they reasoned, or Flash Gordon without Buster Crabbe. They had drives a friend from Los Angeles South to the Tijuana border and not banked on two crucial components: Robert Altman being in on returning finds his apartment swarming with LAPD’s finest, the director’s chair, and Gould on the top of his not who duly announce that he’s under arrest for abetting the inconsiderable form. -
Raymond Chandler's Last Novel: Some Observations on the "Priva, Te Eye" Tradition
RAYMOND CHANDLER'S LAST NOVEL: SOME OBSERVATIONS ON THE "PRIVA, TE EYE" TRADITION HAROLD OREL At one moment in that popular "private eye" novel of 1942, The High Window, the hero refers to himself as a "cockeyed, careless, clubfooted, dissipated investigator. " Philip Marlowe knows that the odds are against him. "See me and you meet the best cops in town, " he muses. "Why despair? Why be lonely? Call Marlowe and watch the wagon come. " The frustration implicit in such name-calling of one's self is, how ever, a passing mood. Marlowe knows that he is not so hopeless as all that. He knows it because he knows who he is, and what he believes in. His ethics are consistent and an awesome thing to watch, because this cock eyed and careless investigator succeeds where the police fail, and does so because, being true to himself, he cannot then be false to any man. When he lectures a cynical Detective-Lieutenant, Jesse Breeze, his anger flares up: 'Until you guys own your own souls you don't own mine. Until you guys can be trusted every time and always, in all times and conditions, to seek the truth out and find it and let the chips fall where they may—until that time comes, I have a right to listen to my conscience, and protect my cli ent the best way I can. Until I'm sure you won't do him more harm than you'll do the truth good. Or until I'm hauled before somebody that can make me talk. -
The Lady in the Lake, the Little Sister, the Long Goodbye, Playback: Volume 2 Pdf
FREE THE LADY IN THE LAKE, THE LITTLE SISTER, THE LONG GOODBYE, PLAYBACK: VOLUME 2 PDF Raymond Chandler,Tom Hiney | 1008 pages | 26 Sep 2002 | Everyman | 9781857152562 | English | London, United Kingdom Everyman Classics - Everyman's Library Playback is a novel by Raymond Chandler featuring the private detective Philip Marlowe. Chandler died The Lady in the Lake following year; Playback The Lady in the Lake his last completed novel. Marlowe is faced with the choice The Little Sister turning against his client and taking up the cause of the subject he was hired to The Lady in the Lake, an attractive woman on the run with whom he eventually becomes emotionally entangled. Through intermediaries, an anonymous client hires Marlowe to find Betty Mayfield, who is traveling under the name Eleanor King. Marlowe trails Mayfield to the small coastal resort town of Esmeralda, California. During her train ride west, Mayfield had The Long Goodbye recognized by a man The Lady in the Lake then tried to blackmail her, for reasons disclosed at the end of the story. While Marlowe is poking around Esmeralda, the blackmailer is found dead on the balcony of Mayfield's hotel room. She panics and calls Marlowe for help. Marlowe encounters numerous characters with dubious motivations, including a taciturn lawyer and his smart secretary with whom Marlowe has a sexual encountera "retired" gangster, overconfident would-be tough guys of varying morals, a hired killer whose wrists Marlowe smashesdecent police officers, and an affectingly desperate example of the immigrant underclass in the United States in the s. Marlowe also has The Little Sister encounter in a hotel lobby with a reflective elderly gentleman, Henry Clarendon IV, which gives rise to an extended philosophical conversation. -
Raymond Chandler and His Ambiguous Relationships to Women: a Search for Hidden Meanings Within His Crime Novels
View metadata, citation and similar papers at core.ac.uk brought to you by CORE Lyuba Pervushina provided by Jagiellonian Univeristy Repository Minsk State Linguistics University Richard R. E. Kania Jacksonville State University of Alabama Raymond Chandler and His Ambiguous Relationships to Women: A Search for Hidden Meanings within His Crime Novels Raymond Chandler (1888-1959) is recognized today as one of the greats of American crime fiction. In the “hard-boiled” pattern of Dashiell Hammett, he is often described as a realistic writer of the American scene in the 1940s. And a dark vision it is, filled with betrayal and dishonesty, wherein even the protagonist is not a hero. A Chandler detective may have more integrity than the other characters in the story, but not that much more. His clients have hidden agendas and devious motives, especially the women. None are pure, some even are diabolical and evil. Chandler began writing crime fiction in his mid-forties, but had been writ ing poetry and essays since his college days in England (MacShane 1976: 23). He modeled his first crime stories on those of Dashiell Hammett, whose writing he admired, and sought to have them published in Black Mask, a very suc cessful “pulp” magazine where Hammett also published some of his fiction (MacShane 1976: 48-49). His first published short story was “Blackmailers Don’t Shoot,” which he later described as “pure pastiche” (MacShane 1976: 51). In 1939, after five years of writing short stories for various pulps, he produced his first novel, The Big Sleep (MacShane 1976: 61; Freeman 2007: 174-175,177). -
AFI PREVIEW Is Published by the Sat, Jul 9, 7:00; Wed, Jul 13, 7:00 to Pilfer the Family's Ersatz Van American Film Institute
ISSUE 77 AFI.com/Silver AFI SILVER THEATRE AND CULTURAL CENTER JULY 8–SEPTEMBER 14, 2016 44T H AFI LIFE ACHIEVEMENT AWARD HONOREE A FILM RESTROSPECTIVE THE COMPOSER B EHIND THE GREAT EST A MERICAN M OVIES O F OUR TIME PLUS GLORIOUS TECHNICOLOR ★ ’90S C INEMA N OW ★ JOHN C ARPENT E R LOONEY TUNES ★ KEN ADAM REMEMBERED ★ OLIVIA DE HAVILLAND CENTENNIAL Contents AFI Life Achievement Award: John Williams AFI Life Achievement Award: July 8–September 11 John Williams ......................................2 John Williams' storied career as the composer behind many of the greatest American films and television Keepin' It Real: '90s Cinema Now ................6 series of all time boasts hundreds of credits across seven decades. His early work in Hollywood included working as an orchestrator and studio pianist under such movie composer maestros as Bernard Herrmann, Ken Adam Remembered ..........................9 Alfred Newman, Henry Mancini, Elmer Bernstein and Franz Waxman. He went on to write music for Wim Wenders: Portraits Along the Road ....9 more than 200 television programs, including the groundbreaking anthology series ALCOA THEATRE Glorious Technicolor .............................10 and KRAFT TELEVISION THEATRE. Perhaps best known for his enduring collaboration with director Steven Spielberg, his scores are among the most iconic and recognizable in film history, from the edge-of-your- Special Engagements .................. 14, 16 seat JAWS (1975) motif to the emotional swell of E.T. THE EXTRA-TERRESTRIAL (1982) and the haunting UCLA Festival of Preservation ...............14 elegies of SCHINDLER'S LIST (1993). Always epic in scale, his music has helped define over half a century of the motion picture medium. -
Bracketting Noir: Narrative and Masculinity in the Long Goodbye
Networking Knowledge Bracketting Noir (Jun. 2017) Bracketting Noir: Narrative and Masculinity in The Long Goodbye KYLE BARRETT, University of the West of Scotland ABSTRACT This paper will look at the subversion of tropes within The Long Goodbye (Robert Altman, 1973). Leigh Brackett, a veteran of the Hollywood studio system of the 1940s and 1950s, wrote the screenplay and previously had co-written Howard Hawks’ The Big Sleep (1944). Brackett adopted a different approach when working with Altman, maintaining his working practices of over-lapping dialogue and abandonment of traditional three-act structure. Brackett uses this opportunity of the less-restrictive production practices of the American New Wave of the 1970s to explore, and deconstruct, the myth of the detective. Throughout the narrative, Brackett populates the film with eccentric characters as Marlowe weaves his way through a labyrinthine plot and in many cases extreme representations of masculinity, evident in the scene where a gangster assaults his girlfriend with a coke bottle. Finally, Brackett presents Marlowe, played by Elliot Gould, as an out-of-time hero that needs updating. KEYWORDS Screenwriting, Gender, Film Noir, Masculinity, Narrative, New Hollywood Introduction What’s a man’s story? Conflict. Explosions. Killing. Guns. Special effects. A strong, heroic, nonemotional man doing physical action. Dinosaurs. Monsters. And, men might add, “They make lots of money.” That’s the stereotype and there’s some truth to it (Seger 2003, 111). Linda Seger’s statement above demonstrates the macho saturation of mainstream cinema. It is a male- dominated industry producing male-orientated films. However, looking over the history of cinema production we can see the key players are often women, ‘In the early years of filmmaking, women screenwriters outnumbered men ten to one, with the not surprising result of some classic films, roles, performances by and about women - many of whom wrote for, produced, requested and directed each other’ (McCreadie 2006, xii). -
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. -
Doc, the Dude, and Marlowe: Changing Masculinities from the Long Goodbye to Inherent Vice
orbit. Article How to Cite: Carswell, S 2018 Doc, the Dude, and Marlowe: Changing Masculinities from The Long Goodbye to Inherent Vice. Orbit: A Journal of American Literature, 6(1): 2, pp. 1–24. DOI: https://doi.org/10.16995/ orbit.484 Published: 22 March 2018 Peer Review: This article was peer-reviewed internally by the guest editor and by a member of the Orbit editorial team. Copyright: © 2018 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Open Access: Orbit: A Journal of American Literature is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Carswell, S 2018 Doc, the Dude, and Marlowe: Changing Masculinities from The Long Goodbye to Inherent Vice. orbit Orbit: A Journal of American Literature, 6(1): 2, pp. 1–24. DOI: https://doi.org/10.16995/orbit.484 ARTICLE Doc, the Dude, and Marlowe: Changing Masculinities from The Long Goodbye to Inherent Vice Sean Carswell California State University, Channel Islands, US [email protected] Inherent Vice is rich with intertextual allusions to both Raymond Chandler’s Philip Marlowe novels and the Coen brothers’ film The Big Lebowski. -
The Long Goodbye
The long goodbye Guy Kortsarz March 5, 2018 1 The long goodbye, film analysis 1.1 Killing the myth of the hard boiled detective in The long goodbye Here are the words of Chandler in his essay: "The Simple Art of Murder." He writes, "But down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. The detective in this kind of story must be such a man. He is the hero; he is everything. He must be the best man in his world and a good enough man for any world." The film is based on the book "The long goodbye" by Chandler. It changes it so much that maybe an adaptation is not a proper word. In the film Marlow kills Lennox. In the book, Lennox kills Marlow. Boy is the detective of The long goodbye far from this description of Chandler. This myth is completely debunked. 1.2 A brief description of the plot The film is set in Los Angeles. Its late at night and the spoiled cat of Marlowe is hungry. Marlowe is a private investigator. In the store Marlowe fails to find the quality food that his cat is used to. Marlowe tries to cheat his cat. He buys cheap food, but puts it in an empty can of the quality food. The cat is not fooled. He sniffs once and then, as if with contempt, the cat disappears and we no longer see the cat in the movie. Philip Marlowe is visited by his close childhood friend Terry Lennox. -
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. -
Film Terms Glossary Cinematic Terms Definition and Explanation Example (If Applicable) 180 Degree Rule a Screen Direction Rule T
Film Terms Glossary Cinematic Terms Definition and Explanation Example (if applicable) a screen direction rule that camera operators must follow - Camera placement an imaginary line on one side of the axis of action is made must adhere to the (e.g., between two principal actors in a scene), and the 180 degree rule 180 degree rule camera must not cross over that line - otherwise, there is a distressing visual discontinuity and disorientation; similar to the axis of action (an imaginary line that separates the camera from the action before it) that should not be crossed Example: at 24 fps, 4 refers to the standard frame rate or film speed - the number projected frames take 1/6 of frames or images that are projected or displayed per second to view second; in the silent era before a standard was set, many 24 frames per second films were projected at 16 or 18 frames per second, but that rate proved to be too slow when attempting to record optical film sound tracks; aka 24fps or 24p Examples: the first major 3D feature film was Bwana Devil (1953) [the first a film that has a three-dimensional, stereoscopic form or was Power of Love (1922)], House of Wax appearance, giving the life-like illusion of depth; often (1953), Cat Women of the Moon (1953), the achieved by viewers donning special red/blue (or green) or MGM musicalKiss Me Kate polarized lens glasses; when 3-D images are made (1953), Warner's Hondo (1953), House of 3-D interactive so that users feel involved with the scene, the Wax (1953), a version of Hitchcock's Dial M experience is -
BFI Film Quiz – April 2015
BFI Film Quiz – April 2015 General Knowledge 1 The 2000 film Chocolat, starring Juliette Binoche, was based on a 1999 novel by which British writer? 2 Name the 2003 film, directed by by Sönke Wortmann, which tells the story of a German family against the backdrop of the unexpected West German victory in the 1954 World Cup Final. 3 Who directed the 1972 film adaptation of Peter Nichols’ play A Day in the Death of Joe Egg? 4 Who plays the lead character, Trevor Reznik, in Brad Anderson’s 2004 psychological thriller The Machinist? 5 Jonathan Demme’s The Silence of the Lambs was only the third film to win Academy Awards in all of the top five categories – Best Picture, Actor, Actress, Director and Adapted Screenplay. Name the previous two. Audience Choice – Robert Altman 1 Which 1973 Robert Altman film – a neo-noir, based on a Raymond Chandler novel – starred Elliott Gould as the private investigator Philip Marlowe? 2 Which 1971 film, starring Warren Beatty and Julie Christie, did Altman refer to an “anti-western” because the film ignores or subverts a number of Western conventions? 3 Who played Captain “Hawkeye” Pierce in Altman’s Oscar-winning 1970 black comedy M*A*S*H; a role which was later reprised by Alan Alda in the long-running TV adaptation of the story? 4 Name the 1975 Altman film which garnered Academy Award nominations for Best Picture, Best Director, two Best Supporting Actress nominations and a successful Best Original Song nomination for Keith Carradine’s “I’m Easy”. 5 Who played the part of Yolanda Johnson in Altman’s final film, 2006’s A Prairie Home Companion; she later reprised the role on the real life radio show on which the film was based.