Adieu ma belle

Chandler once said that Powell was his favourite - not, naturally, his ideal - screen Marlowe. Though "Bogart is always excellent as Bogart", he wasn't Marlowe.

Claire Trevor is the classic proof of how personality is more important than looks, even in sexy parts. Short, powerfully built, coarse-featured, she comes across here as overpoweringly glamorous and alluring.

Private dick Phil Marlowe is hired by a "paltry, foppish man" to accompany him on a midnight assignation. What follows is a glorious piece of Chandleriana, a ganglion of a plot involving a jade necklace, a jailbird who carries a torch for a showgirl, a "big-league blonde" with a rich old husband and an eye for private eyes, and more narrative twists and turns than a Restoration comedy on acid.

Will Moose be reunited with Velma? Who's the brunette in the gulch? What is Anthor's precise relationship with Marriott? How many more times can Marlowe get slugged from behind without having his skull disintegrate?

Golden tenor Dick Powell may not be the obvious choice to play Marlowe, but in fact he turns in THE definitive performance. Chandler once defined the ideal hero in one of his essays as a special man, but at the same time a man of the people. Not amazingly bright, subject to bouts of confusion and wrong-headed wilfulness, but for all that a tough, decent, dry-humoured guy who just happens to be as sexy as hell. Powell delivers.

Watch out for a remarkable dream sequence after Marlowe is forcibly injected with heroin (yes, heroin). Expressionist cinema was never as evocative as here!

All in all, the film is an example of a genre captured at its apex - "like lighting a stick of dynamite, and telling it not to go off"!

Produced by the legendary RKO during the golden age of American film noir, Murder, My Sweet remains to this day one of the best adaptations of the adventures of Philip Marlowe.

The mythical antihero Raymond Chandler had a slew of excellent adaptations to the big screen including The Big Sleep by Howard Hawks and The Private by Robert Altman. Philip Marlowe has inspired dozens of imitators and one can still find his DNA in the chronic darkness of James Ellroy.

Everything is there: the smoky bars populated by exotic dancers, the femme fatale, the weary detective who is constantly beaten up after his hilarious escapades, etc. To this Dmytryk adds a few original touches straight out of German Expressionism.

Humphrey Bogart will overshadow him a few years later, but Dick Powell portrays a Philip Marlowe deeply funny, always ready to deliver a good line. A memorable performance, although the actor did not necessarily look the part. Powell is accompanied by excellent supporting characters, including two femmes fatales Claire Trevor and Anne Shirley. In the role "Moose" Malloy, Mike Mazurki intimidates while managing to remain touching. As for Otto Kruger, he plays a deliciously evil villain. Scripted by John Paxton, the film is somewhat watered down compared to the Chandler novel, he nevertheless manages to bring out the very substance without too many sacrifices.

Murder, My Sweet is a fine example of film noir.

'Murder, My Sweet' is based on Raymond Chandler's classic detective novel 'Farewell, My Lovely'. The book was later filmed in the 1970s under its original title starring Robert Mitchum. The Mitchum version is actually more faithful, but for some reason nowhere near as entertaining. 'Murder, My Sweet' tones down some of the racial and sexual aspects of the original story (which are included in the 1970s remake), and I'm might be mistaken (it's been a while since I read it), but the Anne Shirley character appears to have been created as a potential love interest for Dick Powell. She seems to have been inspired by a similar character in 'Double Indemnity' (written by James M. Cain and filmed the same year with the help of Chandler). Dick Powell was originally a crooner and casting him as Philip Marlowe was a very strange choice at the time, but it certainly works. Personally I would have preferred to see Robert Mitchum playing Marlowe in this version, but by the 1970s he was too old for the part, and comparing the two versions Powell definitely wins. Claire Trevor is also excellent as one of the definitive noir femme fatales, and her scenes with Powell are compelling. The drug sequence is also very memorable. 'Murder, My Sweet' is one of the most entertaining detective thrillers ever made, and along with 'Double Indemnity' and 'Out Of The Past' one of the very best crime movies of the 1940s.

"I caught the blackjack right behind my ear. A black pool opened up at my feet. I dived in; it had no bottom."- Phillip Marlowe in MURDER, MY SWEET.

There are plenty of bottomless pools in MURDER, MY SWEET, Edward Dmytryk's outstanding noir. Tapping into a direct line to the dark places of the human psyche, the film raises the curtain on one shadowy scene after another. It leads the viewer on a convoluted trip through a very gloomy and treacherous labyrinth where oily con men, pesky cops, scheming ladies, and at least one gargantuan lovesick Romeo put the down-at-heels private investigator through the wringer.

Moose Malloy's vanished girlfriend (and a tidy retainer) occupies Marlowe at first. Then, when an expensive jade necklace needs retrieving (with another fat fee offered), Marlowe bites again. But suddenly those too deep pools begin to appear.

John Paxton's screenplay has the cast of characters thinking out loud a lot, which helps occasionally. But just as in Raymond Chandler's other overly schematic crime story, THE BIG SLEEP, strict attention must be paid. Yet even if you become confused, you can still revel in Harry J. Wilde's sterling cinematography. (As mentioned in another review, Wilde, along with a slew of other people, including Orson Welles, shot additional scenes for THE MAGNIFICENT AMBERSONS for which he and the others received no credit. As Welles himself intones rather solemnly at that film's conclusion: "Stanley Cortez was the photographer").

The really big draw in MURDER is Dick Powell, not just delivering a career-changing performance (and being the first actor to play Marlowe) but also giving the best interpretation of Marlowe on film- and that includes Bogart's fine outing in Hawks' THE BIG SLEEP(1946), Robert Mitchum's two disappointing films, and Elliot Gould's daring 1973 performance in Altman's THE LONG GOODBYE. Powell projects the detective's weary cynicism and dogged determination without any hint of showy mannerism or overplayed toughness. His presence is completely natural and convincing, far from any Hollywood ham acting.

In addition, MURDER, MY SWEET presents the polished villainy of Otto Kruger, slithering around Powell with his characteristic reptilian menace; Anne Shirley as a spunky good girl who brightens the gloom somewhat; and, on the femme fatale side, the high voltage glare of Claire Trevor, laminated in heavy make-up like a pricey, megawatt doxy. Literally towering over everything is Mike Mazurki's Moose (far more effective than Jack O'Halloran's catatonic trance in Mitchum's FAREWELL, MY LOVELY). Mazurki's silent entrance into Marlowe's office at the beginning sets the uneasy mood where huge, powerful forces stir and then emerge from the darkness.