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The Hero Is Hardboiled
Page 1 of 3 The Hero Is Hard-Boiled 'The Big Sleep' introduced Philip Marlowe and a new kind of mystery novel By LEONARD CASSUTO August 26, 2006 Raymond Chandler was the rare mystery writer who didn't care whodunit. "The Big Sleep," his first novel, appeared in 1939 and introduced Philip Marlowe, a detective who shows at least as much talent for wisecracks as for sleuthing. Marlowe's weathered dignity set the course of American detective fiction for generations. When Leigh Brackett collaborated on the screenplay for "The Big Sleep" in 1946 with William Faulkner (yes, that William Faulkner), the two found themselves so stymied by the plot turns that they couldn't tell who had murdered the chauffeur. Director Howard Hawks sent Chandler a telegram asking him who knocks the character off. "No idea," Chandler cabled in response. A grimy story involving pornography, drugs, and a particularly nasty hired killer in the employ of organized crime, "The Big Sleep" offers none of the clean, cathartic redemption that typically ended detective stories. "Crusts and fragments of greasy newspaper" litter Chandler's Depression-era Los Angeles, along with used condoms and "oil-scummed water." Marlowe solves the murders, more or less, but the solution doesn't leach the "hidden sadism" (as Chandler later called it) from his surroundings. A sordid mystery with a plot so incoherent that you can't tell who killed whom would not appear destined for classic status. In fact, "The Big Sleep" had a rocky debut. Though issued by the prestigious publisher Alfred A. Knopf, the novel sold a meager 12,500 copies in the U.S. -
The Lady in the Lake 4 5 by Raymond Chandler 6
Penguin Readers Factsheets level E Teacher’s notes 1 2 3 The Lady in the Lake 4 5 by Raymond Chandler 6 ELEMENTARY SUMMARY he Lady in the Lake, first published in 1943, is the As Chandler’s reputation grew, he was employed as a T fourth of Raymond Chandler’s great detective screenwriter in Hollywood, and after Humphrey Bogart stories featuring private detective Philip Marlowe. and Lauren Bacall starred in a film of The Big Sleep he As usual, Marlowe is employed to find a missing person, became world famous. In later life he became increasingly in this case the wife of Derace Kingsley, but in the course dependent on alcohol but he was recognized before he THE LADY IN LAKE of his investigation he uncovers a series of related crimes. died in 1959 as the outstanding writer of detective stories When Marlowe tries to interview Mrs Kingsley’s lover, in the USA. Lavery, he arouses the suspicions of a Doctor Almore, who lives opposite, and is warned off by a detective BACKGROUND AND THEMES named Degarmo. At Kingsley’s house in the mountains, Marlowe and the caretaker, Bill Chess, find the body of a The first detective stories were published in English in the woman in the lake, the face now unrecognizable but mid-nineteenth century, but they really became popular in apparently that of Chess’s wife, Muriel. the 1890s when Sir Arthur Conan Doyle created the private detective Sherlock Holmes. In the Sherlock Marlowe puts together the career of a woman called Holmes stories and those of writers like Agatha Christie Mildred Haviland. -
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. -
Techniques Used to Establish the First Person Narrator and Perspective in Double Indemnity and Murder, My Sweet
ISSN 2380-5064 | Arsenal is published by the Augusta University Libraries | http://guides.augusta.edu/arsenal Volume 1, Issue 2 (2017) Techniques Used to Establish the First Person Narrator and Perspective in Double Indemnity and Murder, My Sweet Breana Walton Citation Walton, B. (2017). Techniques Used to Establish the First Person Narrator and Perspective in Double Indemnity and Murder, My Sweet. Arsenal: The undergraduate research journal of Augusta University, 1(2), 23-29. http://doi.org/10.21633/issn.2380.5064/s.2017.1.02.23 This open access article is distributed under a Creative Commons Attribution- NonCommercial-NoDerivs 2.0 Generic License (https://creativecommons.org/licenses/by-nc-nd/2.0/) ISSN 2380-5064 10.21633/issn.2380.5064/s.2017.1.02.23 Techniques Used to Establish the First Person Narrator and Perspective in Double Indemnity and Murder, My Sweet Breana Walton Department of English and Foreign Languages Faculty Mentor: Tim Sadenwasser, Department of English and Foreign Languages and Honors Program; Todd Hoffman, Department of English and Foreign Languages ABSTRACT Directed by Billy Wilder (1944) and Edward Dmytryk (1944) respectively, the films noir Double Indemnity and Murder, My Sweet each have a storyline that unfolds from a first person perspective as told by a narrator. The techniques used in the films establish this first person perspective through which the films are understood. Both films include voice over as a technique, which determines who the narrator is and the amount of information withheld or disclosed to the audience. Establishing the visual perspective of the narrator is portrayed through differently for each film. -
American Heritage Center
UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew. -
Farewell, My Lovely
Raymond Chandler Farewell, My Lovely Introduction 'Where do you think I've been these last eight years?' He looked quite pleased with himself. 'Prison. Malloy's the name. Moose Malloy. The Great Bend bank job - that was me. On my own, too. Forty thousand dollars.' If anyone could rob a bank on his own, it's Moose Malloy. He's as hard as stone and as big as a bus. Now he's out of prison, and he wants two things: to know who gave his name to the police eight years ago, and to find his girlfriend. Moose means trouble, and it's the sort of trouble a private detective should stay away from. So of course Philip Marlowe runs straight into it: trouble with the police, trouble with women, trouble with almost every criminal in California . And trouble with murder. Even when he tries to walk away from it, this sort of trouble just follows him around ... Raymond Chandler is one of the greatest modern detective writers. He turned the American crime story into a kind of art. He was born in 1888 in Chicago, Illinois, but was brought up and educated in England. He worked as a reporter in London before returning, in 1912, to the USA. After fighting in France during World War I, he lived and worked in California. He lost his job in 1932. Then he started to write crime stories for magazines. His first book, The Big Sleep (1939), was about a private detective, Philip Marlowe. It was a great success, and he wrote about Marlowe in many other books, including Farewell, My Lovely (1940), The High Window (1942), The Lady in the Lake (1944) and The Long Goodbye (1953). -
Catalog Sixty-Eight the CELLULOID PAPER TRAIL
catalog Books Royal sixty-eight Ca talog Sixty-Eight talog Royal Books THE CELLULOID PAPER TRAIL Oak Knoll Press is pleased to announce the publication of Terms and Conditions Kevin R. Johnson’s The Celluloid All books are first editions unless indicated otherwise. Paper Trail. The first book All items in wrappers or without dust jackets advertised have glassine covers, and all dust jackets are protected ever published on film script by new archival covers. Single, unframed photographs identification and description, housed in new, archival mats. lavishly illustrated and detailed. In many cases, more detailed physical descriptions for archives, manuscripts, film scripts, and other ephemeral Designed for any book scholar, items can be found on our website. including collectors, archivists, Any item is returnable within 30 days for a full refund. librarians, and dealers. Books may be reserved by telephone, or email, and are subject to prior sale. Payment can be made by credit card Available now at royalbooks.com/cpt or, if preferred, by check or money order with an invoice. or by calling 410.366.7329. Libraries and institutions may be billed according to preference. Reciprocal courtesies extended to dealers. Please feel free to let us know if you would like your copy signed or inscribed by the author. We accept credit card payments by VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PAYPAL. Shipments are made via USPS priority mail or Fedex Ground unless other arrangements are requested. All shipments are fully insured. Shipping is free within the United States. For international destinations, shipping is $60 for the first book and $10 for each thereafter. -
A Homage to Raymond Chandler Downloaded from by Guest on 30 September 2021
L INE BY LINE jonah raskin The Master of Nasty A homage to Raymond Chandler Downloaded from http://online.ucpress.edu/boom/article-pdf/2/4/87/381441/boom_2012_2_4_87.pdf by guest on 30 September 2021 Raymond Chandler relished finding names for his quirky characters, including Philip Marlowe, the pipe-smoking, chess-playing private eye—a literary kinsman to Sam Spade, Dashiell Hammett’s solitary sleuth—whom I first met in the pages of fiction as a teenager and whom I have known more than fifty years. Sometimes the names are dead giveaways about the morality or immorality of the character, sometimes they’re opaque, but I’ve always found them intriguing and an open invitation to try to solve the mystery myself. In his first novel, The Big Sleep (1939) Chandler calls the bellicose gangster Eddie Mars, the smut peddler Arthur Gwynn Geiger, and the top cop Captain Cronjager. In The High Window (1942), Lois Magic is the femme fatale, Linda Conquest is a torch singer, and Leslie Murdoch is the effete son of a nasty heiress who has murdered her own husband and brainwashed Merle Davis (a wholesome girl from the Midwest and a victim of sexual assault) into thinking she’s guilty of the crime. Nice people, Marlowe observes wryly. Born in Chicago in 1888, near the end of the Victorian era, raised in England among elite Edwardians, and transplanted to Los Angeles in 1913, Chandler saw California through the eyes of an English eccentric. A veteran of World War I who was wounded in action in France, and a child of Prohibition and Depression America, he recognized that crime was an industry in both boom and bust times, and a rich field for a writer. -
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). -
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). -
"The Censorship of Sex: a Study of Raymond Chandl Er's the Big
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Érudit Article "The Censorship of Sex: A Study of Raymond Chandl er’s The Big Sleep in Franco’s Spain" Daniel Linder TTR : traduction, terminologie, rédaction, vol. 17, n° 1, 2004, p. 155-182. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/011977ar DOI: 10.7202/011977ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 9 février 2017 05:34 The Censorship of Sex: A Study of Raymond Chandler’s The Big Sleep in Franco’s Spain Daniel Linder A number of Translation Studies scholars have explored manipulation in translated texts and the underlying ideologies that support them. Indeed, the Manipulation School (Theo Hermans, José Lambert and others) emerged early in the short history of the discipline and set out to describe the textual manifestations of manipulation and to elucidate the ideological constructs upon which they rested. -
City of Angels Premiered on Broadway in 1989, and Ran for Over Three Years
Director’s Note The 1940s… The height of Hollywood’s Golden Age, and of film noir. Bogart and Bacall. Cagney. Hayward. Mysteries solved by Philip Marlowe and Sam Spade. Mystery novels by Raymond Chandler, Dashiell Hammett, Rex Stout, and many others. A sleek, stylized era when postmen always rang twice, and the most famous Falcon was Maltese, not Millennium. The adventure of creating such Hollywood films was often as twisting and twisted as the mysteries themselves. Seldom has a glimpse of both these real and reel worlds been presented together. Until now. City of Angels premiered on Broadway in 1989, and ran for over three years. It received eleven Tony Award nominations, and won six including Best Musical, Book, and Score. The backstage musical—going behind the scenes of a stage show—is a prolific genre:42nd Street; The Producers; Kiss Me, Kate; and many others. Rare is the musical that goes behind the making of a film. InCity of Angels, we see the mystery novelist, Stine, adapting his novel for the Hollywood ma- chine—while we see the film itself unfold, authentically in black and white. More than a gimmicky parallel, we see how Stine’s real world influences his film’s world, and vice versa—for better and for worse. The era’s glamour is captured in the incredible jazz score of Cy Coleman (The Will Rogers Follies, Sweet Charity, Barnum, Little Me, The Life…), the enticingly intelligent lyrics of David Zippel (Neil Simon’s The Good- bye Girl, Disney’s Mulan and Hercules), and the hilarious, poignant book by Larry Gelbart (M*A*S*H; Oh, God!; Tootsie; Blame it on Rio; A Funny Thing Happened on the Way to the Forum).