The Long Goodbye

Easily one of Altman's best films and an early precursor to other films later in the decade by the director. The Long Goodbye is a fine transition in style to Altmans later films like "Nashville" and "A Wedding" Elliot Gould does an outstanding job portraying the outre detective Phillip Marlowe, using his mumbling, bumbling, smart ass speaking style, as a technique to keep the film under the illusion that everything is in motion, like the ocean waves in the film, Marlowe speaks in a sort of beatnik type "Daddy-O" style combined with a smooth talking private eye, and the result works perfectly. The film works like it is timed by a metronome, it rolls along, seamlessly in a way that only Altman can achieve, and like the rhythm of the waves and Marlowe's speech, the camera is constantly in motion as well. The roving camera does an excellent job of allowing the viewer to feel as though they are witnessing more action than actually exists on screen.

Wade (Sterling Hayden) is a fantastic Hemingway-esque writer in the film. Hayden's size and booming voice, in conjunction with his alcoholism and potential brutality, lend an aroma of unpredictableness to his character. Wade's beautiful wife, who has a mysterious bruise on her face, is like a timid, loyal animal, subjected to the whims of her over bearing master. Henry Gibson, who plays Wade's doctor, is excellent as a sort of despotic mouse, who frightens an elephant into conforming to his will, this irony is one of the films intriguing, bizarre twists.

This film works well as a character study, and is one of the best films of the seventies. A must see for every student of film. 9/10

Usually smoking, and sometimes smirking, Elliott Gould mumbles and stumbles his way through Altman's re-invention of this gumshoe novel by Raymond Chandler. The film's unexpectedly interesting ending suggests a good story, but you'd never know it from the film's plot, which rambles and meanders, seemingly without purpose, a pointless talk-fest wherein Marlowe interacts with the cops, a femme fatale, a buddy who wants to disappear, and assorted hoods and mobsters. It's all rather sordid and seedy as you would expect, except that it's brought up to date, for 1973, and in its "hipness" and sophistication becomes something of a parody of 1940's private-eye flicks. Gould's Marlowe is annoyingly smug, with a too casual manner. And I found none of the other characters to be sympathetic or likable.

The dialogue and the acting are stilted and self-conscious. In one party sequence that takes place on the beach, Dr. Verringer (Henry Gibson) insists that he get his money. The guests stand around, as if they are movie extras brought in for this one day of shooting. The viewer can easily imagine microphones just over the heads of the principal actors, and personnel just off-screen, waiting for Altman to yell: "Cut". Along with other scenes, it looks forced and staged.

The film's best attribute is its cinematography. I especially like the sequence showing human figures retreating into the surf at night. Combined with the sound of ocean waves, it makes for an interesting segment.

Some viewers love this film because of Altman's direction and Gould's performance. Others hate it because it so deviates from Chandler's original story. I personally did not like the film, mostly because of Marlowe, himself, and because of the tangled and convoluted plot, populated by loquacious characters who I found totally not interesting.

I admit, when I first viewed "The Long Goodbye", in 1973, I didn't like the film; the signature Altman touches (rambling storyline, cartoonish characters, dialog that fades in and out) seemed ill-suited to a hard-boiled detective movie, and Elliott Gould as Philip Marlowe? No WAY! Bogie had been perfect, Dick Powell, nearly as good, but "M.A.S.H.'s" 'Trapper John'? Too ethnic, too 'hip', too 'Altman'! Well, seeing it again, nearly 34 years later, I now realize I was totally wrong! The film is brilliant, a carefully-crafted color Noir, with Gould truly remarkable as a man of morals in a period (the 1970s) lacking morality. Perhaps it isn't Raymond Chandler, but I don't think he'd have minded Altman's 'spin', at all! In the first sequence of the film, Marlowe's cat wakes him to be fed; out of cat food, the detective drives to an all-night grocery, only to discover the cat's favorite brand is out of stock, so he attempts to fool the cat, emptying another brand into an empty can of 'her' food. The cat isn't fooled by the deception, however, and runs away, for good...

A simple scene, one I thought was simply Altman quirkiness, in '73...but, in fact, it neatly foreshadows the major theme of the film: betrayal by a friend, and the price. As events unfold, Marlowe would uncover treachery, a multitude of lies, and self-serving, amoral characters attempting to 'fool' him...with his resolution decisive, abrupt, and totally unexpected! The casting is first-rate. Elliott Gould, Altman's only choice as Marlowe, actually works extremely well, BECAUSE he is against 'type'. Mumbling, bemused, a cigarette eternally between his lips, he gives the detective a blue-collar integrity that plays beautifully off the snobbish Malibu 'suspects'. And what an array of characters they are! From a grandiosely 'over-the-top' alcoholic writer (Sterling Hayden, in a role intended for Dan Blocker, who passed away, before filming began), to his sophisticated, long-suffering wife (Nina Van Pallandt), to a thuggish Jewish gangster attempting to be genteel (Mark Rydell), to a smug health guru (Henry Gibson), to Marlowe's cocky childhood buddy (Jim Bouton)...everyone has an agenda, and the detective must plow through all the deception, to uncover the truth.

There are a couple of notable cameos; Arnold Schwarzenegger, in only his second film, displays his massive physique, as a silent, mustached henchman; and David Carradine plays a philosophical cell mate, after Marlowe 'cracks wise' to the cops.

The film was a failure when released; Altman blamed poor marketing, with the studio promoting it as a 'traditional' detective flick, and audiences (including me) expecting a Bogart-like Marlowe. Time has, however, allowed the movie to succeed on it's own merits, and it is, today, considered a classic.

So please give the film a second look...You may discover a new favorite, in an old film!

Private investigator Philip Marlowe is approached by a friend, Terry Lennox, who is in a bit of a jam. Marlowe helps him get to Mexico but the next day his friend's wife turns up dead. The police hold Marlowe but then release him once Terry Lennox is found dead in Mexico - suicide. To the cops it is an open-and-shut case of murder-suicide but Marlowe doesn't believe that to be the case. Marlowe then is hired by the wife of wealthy author Roger Wade to find her husband. The Wades were neighbours of the Lennoxes. A powerful mob boss also leans on him to find the large sum of money Terry Lennox was transporting for him. Could all these events be connected?

Robert Altman directs a movie based on a Raymond Chandler novel, and it's a mixed bag.

Starts off very well with some humorous scenes and dialogue and a fair amount of intrigue. The middle-to-end sections lack focus, however, and, while it is never dull, the movie feels like it is drifting to a lacklustre conclusion. The intrigue just seems to get sucked out of the movie in that segment. In addition, the theme song gets played in just about every situation and in various forms - it gets very irritating, very quickly.

Ends well though, with a good twist and a powerful conclusion.

A new take on Philip Marlowe from Elliott Gould - he is hardly Humphrey Bogart and he's not trying to be. Altman's Philip Marlowe is the dishevelled, anti-social chain-smoking anti-hero rather than the suave, confident hero that Bogart portrayed. For the most part, it works, though at times I wished for the coolness and wise-cracks of Bogie.

Supporting cast are fine. Sterling Hayden is great as the larger-than-life, Ernest Hemingway/John Huston-esque Roger Wade.

Not the Philip Marlowe of the Bogart movies, but it'll do.

The very embodiment of '70s Hollywood genre revisionism, Robert Altman's film of The Long Goodbye stands as one of his most accessible, wittily misanthropic films, and probably the finest performance of Elliot Gould's career to date.

A warning for Raymond Chandler purists: you probably won't like this film. Altman and screenwriter Leigh Brackett had quite a task in adapting Chandler's second-last novel to the screen, for in it the 'knight errant' Phillip Marlowe comes over more like a prudish sap. Altman and Brackett have streamlined the narrative, removed peripheral characters, and – crucially – transformed Marlowe into a murkier, more comically ambiguous protagonist.

In Altman's and Gould's hands, Marlowe is laconically relaxed, murmuring, alternately amused and annoyed at the world. Like Chandler's hero, he is an outsider, a spectator, everywhere he goes. Unlike the literary Marlowe, Gould's character seems washed up on the shores of an unfamiliar land, his nobility as crumpled and stale as his suit.

Along for the ride are the archetypal Chandler villains and victims: self-hating celebrities, young wives trapped in loveless marriages, crooked doctors, low-rent psychopathic gangsters, bored cops, flunkies lost out of time. Typically, the milieux Marlowe moves in range from the affluence of the Malibu Colony to the cells of the County Jail. Altman, however, wishes to make a film in and about 1973; the film is shot through with the psychic reverberations of the end of hippiedom and the remoteness of the 'Me Generation'.

Another Altman touch is his openly expressed contempt for Hollywood and its conventions. As if to acknowledge the artificiality of a private detective story in the midst of 1970s Los Angeles, the film is suffused with jokey references to cinema. Bookended with 'Hooray for Hollywood', the film shows gatekeepers impersonating movie stars, characters changing their names for added class, hoods enacting movie clichés simply because that's where they learnt to behave. Even Marlowe himself refers to the artifice when talking to the cops: 'Is this where I'm supposed to say 'What's all this about?' and he says 'Shut up, I ask the questions' ?'

As for the supporting cast, Sterling Hayden shines out as the beleaguered novelist Roger Wade. There is more than a touch of Hemingway in Hayden's bluff, blustering, vulnerable old hack. Baseball champ and sportscaster Jim Bouton is casually mysterious as Marlowe's friend Terry Lennox, Laugh-In alumnus Henry Gibson is suitably greasy as Dr Verringer, actor/director Mark Rydell (best known for 'On Golden Pond') is convincingly chilling as gangster Marty Augustine, and Nina van Pallandt lends a dignified, defiant pathos to her role as Eileen Wade.

Special note must be made of Vilmos Zsigmond's tremendous photography, employing his early 'flashing' style of exposure to lend Los Angeles a suitably sultry, bleached-out aura. Also deserving attention is John Williams' ingeniously minimalist score. Comprised solely of pseudo-source music, the score is a myriad of variations on a single song, appearing here as supermarket muzak, there as a party singalong, elsewhere as a late night radio tune.

The film's controversial ending is utterly antithetical to Chandler's vision. The message from Altman, however, is loud and clear: Chandler's world no longer exists – if indeed it ever did.