Warner
Bros., 113m 51s
With the passing of Lauren Bacall on August 12th at the age of 89, one of the last of the classic Hollywood screen legends has left us. Born Betty Joan Perske, Bacall was just 19 years of age when the tall, slender actress stole scenes in her screen debut, TO HAVE AND HAVE NOT (1944), directed by the great Howard Hawks. Her appeal was so obvious that her original role actually expanded while filming progressed. What more famously expanded was her relationship with her co-star Humphrey Bogart, who would become her husband in 1945. Bacall would be matched with her husband next in the film noir under review here, with Hawks again directing and co-producing, despite the fact he did not much care for the personal relationship between Bogart and Bacall.
With the passing of Lauren Bacall on August 12th at the age of 89, one of the last of the classic Hollywood screen legends has left us. Born Betty Joan Perske, Bacall was just 19 years of age when the tall, slender actress stole scenes in her screen debut, TO HAVE AND HAVE NOT (1944), directed by the great Howard Hawks. Her appeal was so obvious that her original role actually expanded while filming progressed. What more famously expanded was her relationship with her co-star Humphrey Bogart, who would become her husband in 1945. Bacall would be matched with her husband next in the film noir under review here, with Hawks again directing and co-producing, despite the fact he did not much care for the personal relationship between Bogart and Bacall.
The Look |
As
convoluted as THE BIG SLEEP becomes,
its exposition is straightforward enough. Recently fired by the D.A. for
insubordination, 38-year-old P.I. Philip Marlowe (Bogart) arrives at the
Sternwood residence in LA. Almost instantly he is greeted by the flirtatious
but vacuous Carmen Sternwood (Martha Vickers). Adorned in short shorts, she
throws herself at Marlowe even before he gets to meet the family patriarch who
has requested the detective's services. General Sternwood (Charles Waldron),
paralyzed in both legs, is the polar opposite of his youngest daughter. The film noir landscape is rife with
crippled males, and Gen. Sternwood is probably the preeminent example. He has
more in common with plants than he does people; his blood is so thin he and his
wheelchair are confined to the greenhouse. Sternwood is being blackmailed—again—and
wants Marlowe to look into his youngest daughter Carmen's alleged gambling
debts.
Marlowe (Humphrey Bogart) finds Carmen (Martha Vickers) in a mind-altered state |
It
would be futile to attempt to explain much beyond the abbreviated plot summary
above. THE BIG SLEEP truly seems new
every time you see Marlowe follow the trail of the dead. Noir conventions get started early and are persistent throughout
the narrative. After reckless female sexuality is made perfectly clear, the
tone-setting noir motif of rain soon
punctuates Marlowe's investigation, and a maddeningly complex plot structure settles
in, generally in nocturnal settings. There is also a WWII-era distrust of all
things Oriental, as personified by the mysterious character Arthur Gwynn Geiger
(Theodore von Eltz).
Based
on the 1939 novel by Raymond Chandler, his first to feature Marlowe, THE BIG SLEEP was adapted for the
screen by William Faulkner, Leigh Brackett and Jules Furthman. No doubt the
sheer number of contributors added to the film's disjointed structure, but the
source material was itself an amalgam of different Chandler stories. No matter,
it's the hard boiled dialog that really makes this production get up on its
feet. Bogart makes a terrific tough-talking detective, as he had proven beyond
a shadow of a doubt in John Huston's THE
MALTESE FALCON (1941). No matter the situation, Marlowe knows how to react
effectively. He plays whatever is in front of him for all it's worth. No wonder
Carmen and her big sister Vivian Rutledge (Bacall) are not the only women who
express an interest in Marlowe. Other attractive women offer him a green light,
including a schoolboy-fantasy book shop owner (Dorothy Malone) and a cute taxi
driver (Joy Barlow).
Of
course, only one female character is of serious interest to Marlowe, and she is
played by Bacall. Interestingly, Bacall's character was developed further while
a version of THE BIG SLEEP completed
in early 1945 was getting lonely on the shelf at Warner. While the studio
rushed more time-sensitive war stories to the theatrical market, Bacall's agent
Charles K. Feldman lobbied Jack L. Warner to revise THE BIG SLEEP to include more of Bacall, who had received
alarmingly bad notices for CONFIDENTIAL
AGENT (1945). One of the new scenes interjected has become one of THE BIG SLEEP's best remembered: the sexually-charged conversation between
Bogart and Bacall about horse racing. Bacall is in sexual beast mode here, and
it’s easy to forget that even with the additional material created for the 1946
release, THE BIG SLEEP is really Bogart’s
vehicle. Another great scene that combines the two is also playful, with the
duo antagonizing the police desk over the phone. The one chink in Bacall's
armor was her singing voice, which is average at best as she offers her
rendition of "And Her Tears Flowed Like Wine."
"A lot depends on who's in the saddle." |
Sharing a fun moment |
Despite
rewrites, reshoots, and an extremely delayed release, theatrical audiences
didn't seem to object to the final product. THE BIG SLEEP became the third-highest grossing Warner release of
1946. Warner paired up Bogart and Bacall again in the mediocre DARK PASSAGE (1947) and the superb KEY LARGO (1948). Most of THE BIG SLEEP was shot on Warner
backlots by cinematographer Sidney Hickox (TO
HAVE AND HAVE NOT, DARK PASSAGE,
WHITE HEAT [1949]). As of this
writing, the Warner Home Video DVD is readily available, and it contains both
the 1945 prerelease version (116m 12s) and the more familiar 1946 version, as
well as a brief featurette that helpfully documents the major differences
between the two.
Darkness sets in on Marlowe (Humphrey Bogart) |
Director
Michael Winner remade THE BIG SLEEP
in 1978, with Robert Mitchum starring as Marlowe. Definitely worth a look,
especially for fans of the revisionist noir
movement of the 1970s.
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