Chandler

This movie is seldom mentioned when people talk about neo noirs of the 70s, and it's not hard to understand why. Despite having a certain femme fatale icon from the 40-50s, nothing good that can be said about "Chandler".

The main problem i have with this movie is that it's just too bland. The dialog isn't even clichéd, it's worse, something out of a townhouse conversation with your wife on a saturday afternoon.

The actors bumble around, probably aware of the turkey they had the luck to sign up for, the action peaces are alright but nothing you haven't seen anywhere else, and the twist, well, there is none.

Also, it's hard to understand what exactly the movie was aiming at, it's not a parody, nor some sort of intellectual analysis of the noirs or a political statement of the 70s America, it's definitely not an action flick either.

Perhaps that's the movie's big problem. Most other noirs are either send-off, parodies or deconstructions of their predecessors, while this one is a "NOIR" just filmed in the 70s. It makes the viewer judge the movie on it's own merits, and lacking any, it sinks, just like the Packard in The Big Sleep.

2/10 for two things, Gloria Grahame and the fact that probably someone was watching this and thought, hey, I could do better, and did.

There is nothing to recommend this turkey. I like Warren Oates but even he can't enliven the terrible dialogue, rotten script, stupid editing, and the horrid, horrid soundtrack. Plot? Oh, something about somebody wanting to kidnap Leslie Caron, or kill her, or something. But it's all a ruse to set up another guy who works for the organized crime syndicate that's run by the government. Something like that. Stay away. Especially if you like Warren Oates; you don't want to remember him this way. One thing that's of interest: listening for Gordon Pinsent's Newfoundland accent. But you don't want to remember Pinsent this way, either.

Former private eye-turned-security guard ditches his latest droning job and is immediately offered a chance to return to his previous profession. His assignment: to tail a mysterious French woman newly arrived in California...and apparently wanted by suit-and-tie racketeers. Unsuccessful attempt to update the noir genre hasn't enough sting or wit (or involving plot dynamics) in its screenplay. Director and co-scenarist Paul Magwood (who later claimed the picture was edited without his involvement) doesn't give off the impression of having high regard for the '40s films his "Chandler" was borne from; his nostalgia is appropriately rumpled, but also bitter-tinged and somewhat indifferent. The handling is curiously, commendably low-keyed, and Warren Oates is well-cast as this variant on the 'private dick' archetype, but the movie just doesn't have any snap. Nice to see Leslie Caron and Gloria Grahame in the cast--though neither has much to do, and Caron's hot-and-cold running character is exasperating throughout. Vivid cinematography by Alan Stensvold, nice location shooting, but it fails to come to a boil. *1/2 from ****

In the many films I have seen Warren Oates, I have come to a definite conclusion, here is one talented individual. I first saw Mr. Oates back in the 1960's television series called Stoney Burke. From then on, I followed his career closely and felt he was destined for great roles. That happened in 1974, when Sam Peckinpah gave him top billing in a film called 'Bring Me the Head of Alfredo Garcia.' Of course, his biggest claim to fame was his magnificent role in 'The Wild Bunch'. I have always thought he was quite able to bring any character a certain magic, that is until I saw him in this flop. The movie is called " Chandler ", a tribute to the iron fisted detectives of the 1950's created by Raymond Chandler. Because, the synopsis said it was about a hard nose Private Eye, I was immediately interested. However, I sat patiently through the entire film and found it to be a dull, dis-interesting, slow pace, twisted, confusing saga which if it had a theme or plot must have been left on some dark back room self. Collectively and with some of Hollywood's best supporting stars, such as Alex Dreier, Mitch Ryan, Gordon Pinsent, Charles McGraw, Richard Loo and Scatman Crothers, this movie had enough power to reach Mach five, however, it fizzled on the launchpad and went no where. As a result, one of my favorite actor's got stuck in a poorly made vehicle which never got off the ground. **

I saw this film when it was first released. The memory of how bad it was has stayed with me almost forty years. I didn't want to trust my own sentiments about the movie when I saw it, so I consulted a movie review published in a major metropolitan newspaper the next day- sentiment confirmed, the reviewer wrote that the movie was incoherent, indecipherable, and uninspiring. A little research reveals that the producer was star Leslie Caron's husband, thus the whiff of nepotism suggests the beginning for this awful film. The film's roster of many capable actors - Caron, Warren Oates, Scatman Crothers, Gloria Grahame, and James Sikking among others - suggests that it holds some promise. But the death of this film is attributable to its terrible screenplay. The "mystery" implicated is so obscure and so little revealed throughout the film that the viewer is left perplexed from scene to scene. The movie seems torn between being a detective mystery and an espionage thriller, but never settles upon one or the other. The sense of suspense is entirely absent. The main characters settle on playing dry, emotionless types in a fashion that inspires no empathy whatsoever. The cinematography is pedestrian. The result is that the hapless viewer loses interest in the characters, the plot, and, in the end, the film itself. I am little surprised that there is no version of this pathetic film available to purchase. I hope that if TCM finds a print of this film and feels compelled to air it that it is safely relegated to the 4:00 am slot.