2015 Blind Spot Series: The Long Goodbye

Based on the novel by Raymond Chandler, The Long Goodbye is the story of a detective who tries to find the people who are involved in the murder of his best friend in Los Angeles. Directed by Robert Altman and screenplay by Leigh Brackett, the film is an update of Chandler’s novel as it’s set in 1970s Los Angeles where a man trying to do what is right finds himself in a world that is very complicated. Starring Elliott Gould, Sterling Hayden, Nina Van Pallandt, Jim Bouton, and Mark Rydell. The Long Goodbye is an entrancing and gripping film from Robert Altman.

A murder has just happened as a man who is accused of his wife’s death goes to his gumshoe friend for help only to be presumed dead in Mexico starting a gumshoe’s journey to find the truth. It’s a film that doesn’t just subvert the ideas of traditional film noir and suspense films but it is also set into a world where it’s about greed and selfishness that clashes with old school ideals. In the middle of this is the gumshoe Philip Marlowe (Elliott Gould) who is a private detective who learns that his best friend’s wife was murdered as he would also deal with his friend’s eventual suicide in Mexico prompting him to believe that something isn’t right. What would happen is that Marlowe would drive all over Los Angeles to find some truth only to encounter a series of strange characters and things that stray from the norm.

Leigh Brackett’s screenplay definitely strays from a lot of the conventions of film noir as well as doing a complete deconstruction of Chandler’s novel such as setting the story in 1970s Los Angeles as opposed to something like the 1940s. While Brackett retains much of the language that is expected in noir in terms of its stylistic and rhythmic approach to dialogue, it’s in the characterization that is subversive. Notably the character of Marlowe as if he was presented in a traditional noir film. He would be someone that is quite aggressive in his findings or be very smart and cooperative while often having some kind of voiceover narration. What Brackett does is turn that persona upside down by presenting Marlowe as an everyman of sorts as someone who bumbles his way into a situation while being difficult towards the police and be concerned about finding the right kind of food for his cat.

It’s not just Marlowe that strays from the ideals of noir but it’s also in the characters he meet such as the novelist Roger Wade (Sterling Hayden) as he is essentially a washed-up alcoholic with money problems who rambles about his life and is abusive towards his wife Eileen (Nina Van Pallandt). Eileen is another character that doesn’t play to the tradition of noir as she could’ve been a love interest but the script allows her to be so much more as it is clear that she might know what happened but there’s complications. Then there’s mob boss Marty Augustine (Mark Rydell) who is a man that just wants his money as he is quite intimidating but sensible unless he doesn’t get what he wants where he turns out to be very dangerous. It all plays into this world that Marlowe is in as it is one where he is being the cuckold while trying to make sense of things as he just wants to know what really happened to his friend and his friend’s wife.

Robert Altman’s direction is quite stylish in terms of staying true to the elements of film noir but it is infused with an offbeat sensibility that makes it a very unconventional film. Notably as he would present it in a world that is very modern but has this sense of conflict of old-school ideas with a new age of individuals who care more about themselves. While it is shot largely in Los Angeles with a few shots in Mexico, the film does play something that is very modern though much of its tone is a mixture of old school noir with an offbeat sense of humor that is more akin to the world of the 1970s. Notably as there are elements that are very quirky such as the fact that Marlowe is always seen lighting a match to smoke a cigarette or a character playing variations of the title song that appears frequently in the film.

Altman’s usage of medium and wide shots not only help play into the vast look of the locations but also play into a world that is very lively and chaotic as Altman knows where to place his actors into a frame. Notably as he doesn’t use a lot of close-ups while keeping things very natural and on location such as an opening sequence where Marlowe is looking for cat food at a 24-hour supermarket at 3 in the morning. Altman’s approach to capturing some of the chaotic moments that involves multiple characters talking with lots of overlapping dialogue do help play into a world that is confusing but also offbeat. Even as he uses some long takes and tracking shots while knowing when to play the elements of suspense and infuse it with something humorous or something much darker. Overall, Altman creates a very engaging and riveting film about a gumshoe private detective trying to uncover a mystery in Los Angeles.

Cinematographer Vilmos Zsigmond does brilliant work with the film‘s cinematography from the usage of available light for some of the nighttime interior scenes along with naturalistic lights for the scenes in the day as Zsigmond‘s photography manages to play something that strays from convention in order to capture a moment in time. Editor Lou Lombardo does amazing work with the editing with its usage of jump-cuts and various rhythmic cuts to play into the suspense as well as the film‘s offbeat humor. Costume designers Kent James and Majorie Wahl do excellent work with the design of the different clothes from the clothes of the men to some of stylish dresses of the women.

The sound work of John Speak and Dick Vorisek is terrific for not just the naturalistic approach to sound but also in the sound editing to capture some of the pieces of music and match it up along with the vast sounds of the party scenes. The film’s music by John Williams is fantastic as it is largely a jazz-based score that only appears in few instances for some of the film’s suspenseful moments while the title song that is written by Williams and Johnny Mercer is played in various styles on location or as part of the score.

The film’s cast is marvelous as it features some notable small appearances from Jack Knight, Pepe Callahan, and Vincent Palmieri as a few of Marty’s hoods, Rodney Moss as supermarket clerk Marlowe meets early in the film and in jail, Jerry Jones and John S. Davies as a couple of LAPD detectives that Marlowe despises, Jo Ann Brody as Marty’s girlfriend, Stephen Coit as the lead detective Farmer, Ken Samson as the Malibu Colony security guard who does great old Hollywood star impressions, David Arkin as young hood named Harry who takes a liking towards Marlowe’s often-topless neighbors, and Arnold Schwarzenegger in one of his early film appearances as a hulking yet silent hood who works for Marty. Henry Gibson is superb as Dr. Verringer as a private hospital doctor who was treating Wade while asking for money. Jim Bounton is excellent as Marlowe’s friend Terry Lennox who asks Marlowe for help as he would later be accused of killing his wife and later be dead prompting Marlowe to find some truth.

Mark Rydell is fantastic as Marty Augustine as this crime boss who just wants what is owed to him as he’s a character that has something that is quite calm but is also very dangerous in one notable moment that is scary. Nina Van Pallandt is amazing as Eileen Wade as Roger’s wife who has been trying to deal with his debt as well as helping Marlowe with the case as she knows a lot more than she seems. Sterling Hayden is brilliant as Roger Wade as a washed-up and troubled novelist who is dealing with money troubles as he deals with the ways of the world while concealing knowledge about the night Terry’s wife was killed. Finally, there’s Elliott Gould in a phenomenal performance as Philip Marlowe as this gumshoe private detective that deals with a case that becomes complicated throughout the course of his journey as Gould brings a humility and wit to his performance that strays from all of the ideas of what is expected in a film noir protagonist.

The Long Goodbye is a magnificent film from Robert Altman. Featuring an incredible performance from Elliott Gould along with a strong supporting cast, enchanting music, and Vilmos Zsigmond’s beautiful photography. The film isn’t just a fascinating take on the world of film noir but it’s also one of Robert Altman’s finest films in terms of taking a genre and put a different spin on it. In the end, The Long Goodbye is an outstanding film from Robert Altman.

Robert Altman Films: (The Delinquents) - (The James Dean Story) - Countdown (1968 film) - (That Cold Day in the Park) - M.A.S.H. - Brewster McCloud - McCabe & Mrs. Miller - (Images) - Thieves Like Us - California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson - 3 Women - (A Wedding) - (Quintet) - (A Perfect Couple (HealtH) - Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) - (Streamers) - (Secret Honor) - (O.C. and Stiggs) - Fool for Love - (Beyond Therapy) - (Aria-Les Boreades) - (Tanner ‘88) - (Vincent & Theo) - The Player - Short Cuts - Pret-a-Porter - (Kansas City) - (The Gingerbread Man) - Cookie's Fortune - Dr. T and the Women - Gosford Park - The Company - (Tanner on Tanner) - A Prairie Home Companion

© thevoid99 2015

Double Indemnity

Based on the novella by James M. Cain, Double Indemnity is the story about an insurance salesman who finds himself in a plot to kill a client for that client’s wife which then leads into all sorts of trouble. Directed by Billy Wilder with a screenplay by Wilder and Raymond Chandler, the film is often considered one of the defining films that would create the suspense genre known as film noir. Starring Fred MacMurray, Barbara Stanwyck, and Edward G. Robinson. Double Indemnity is an engrossing yet stylish film from Billy Wilder.

The film is the story about an insurance salesman who meets the wife of a client about an insurance policy where she seduces him to get involved in a plot to kill her husband so she can lots of money from his insurance. Though he takes part in order to help this woman, he becomes consumed with guilt over his actions as one of his co-workers becomes suspicious of what happened to the man. It is a film that is told largely by its protagonist Walter Neff (Fred MacMurray) as the film begins with him driving his car suffering from a bullet wound on his shoulder as he tells his story to his longtime friend and co-worker Barton Keyes (Edward G. Robinson) though a Dictaphone. Neff’s narration drives the story which moves back and forth to Neff in Keyes office and the events that put Neff into total danger that involved the mysterious femme fatale Phyllis Dietrichson (Barbara Stanwyck).

The film’s screenplay by Billy Wilder and Raymond Chandler does have this unique narrative structure that plays into Neff’s guilt and all of the trouble he deals with in being part of a plot to kill Phyllis’ husband (Tom Powers) for some money where Neff tells Phyllis about a clause known as double indemnity which doubles the insurance money if the death is accidental. Neff and Phyllis plans on what to do as Neff is convinced that Phyllis is a victim in a loveless marriage yet things become complicated after the plot when Neff becomes guilty and Keyes looks carefully into the case. The film’s first half is about the plot while its second half is about Neff’s guilt and the idea that Phyllis may have been using him all along. Even as he learns more about Phyllis through her stepdaughter Lola (Jean Heather) who reveals something about Phyllis that makes Neff suspicious as he is also aware that Keyes is getting closer to uncovering the truth.

Part of the script’s brilliance in its storytelling is its language where it has this very stylish dialogue that not only drives the story but also play into the element of mystery. Even in Neff’s narration where this language is crucial to the storytelling as it has a certain rhythm as well. A lot of it is from the style of Raymond Chandler who infuses that sense of time but also emotion into the dialogue where it all plays into some form of melodrama but also the guilt that Neff would carry.

Wilder’s direction is definitely stylish in some respects while he also takes the time to create some simpler shots to play into the drama and the interactions between characters. A lot of which showcases an air of style in some of the scenes where the use of shadows and shades help convey a style in the look of the film. Even in the use of close-ups, two-shots, and medium shots, Wilder’s approach to framing is very succinct in the way he plays the drama and set up the suspense such as the scene in the train where Neff pretends to be Mr. Dietrichson in order to create the illusion that he fell off the train accidentally. All of which is part of the film’s first half where Neff and Phyllis set up the plot to kill her husband and drop his body on the train tracks.

That element of style in Wilder’s direction is one of the aspects of the film that is just mesmerizing to watch in not just the way Phyllis tries to charm Neff but also in the sense of romance that occurs. Yet, things get very strange in some of their meetings at a supermarket where they’re talking as if they don’t know each other. There’s also some pieces that play into the story such as Keyes’ investigation where he is essentially the film’s conscience as he knows that something isn’t right. He is someone who knows every scenario that could happen as he would become the one person in the film that would force Neff to face his crimes that would lead to a chilling climax about what he needed to do. Overall, Wilder creates a very compelling yet suspenseful film about a man who finds himself involved in a murder plot.

Cinematographer John F. Seitz does fantastic work with the film‘s stylish black-and-white photography to convey the sense of brooding atmosphere in some of the interiors including the use of shading to help maintain that tone that carries the film‘s suspense. Editor Doane Harrison does excellent work with the editing with its stylish use of dissolves as well as rhythmic cuts to help build up the air of suspense. Art directors Hans Dreier and Hal Pereira, along with set decorator Bertram C. Granger, do amazing work with the look of Neff‘s apartment as well as the home that Phyllis lives and the office that Neff works at.

Costume designer Edith Head does fabulous work with the costumes with the designs of the dresses the women characters wear. The sound work of Loren Ryder is superb for its low-key atmosphere and sound effects to play into the film‘s suspense. The film’s music by Miklos Rozsa is brilliant for its thrilling orchestral score that includes some eerie pieces to help create that air of suspense and drama as it’s one of the film’s major highlights.

The casting by Harvey Clermont is terrific for the ensemble that is created as it features some notable small roles from Richard Gaines as Neff and Keyes’ boss who thinks something isn’t right, Porter Hall as a man Neff unknowingly meets at the observation car in the train during the scheme, Tom Powers as Mr. Dietrichson, and Byron Barr as Lola’s boyfriend Nino Zachetti whom Keyes suspects might be involved. Jean Heather is wonderful as Lola Dietrichson as a young woman who dislikes her stepmother as she’s convinced that Phyllis is involved in her father’s death as Neff tries to be there for her. Edward G. Robinson is phenomenal as Barton Keyes as he is a man who knows every scenario that might happen as he’s also someone who knows that something isn’t right as Robinson has a great monologue about the way things are as he also invests in a few humorous moments as he is a major standout in the film.

Barbara Stanwyck is amazing as the smoldering femme fatale Phyllis Dietrichson as this very beautiful woman who has this unique presence where she seems like someone in need. Yet, there’s also something about her that is off as it adds to the complexity of her performance. Fred MacMurray is great as Walter Neff as an insurance salesman who is manipulated into helping this woman only to get into some trouble. MacMurray has this sense of humility and darkness to his character that is very unique as he plays someone that would the typical prototype for many characters of film noir as it’s definitely one of his finest roles.

Double Indemnity is an incredible film from Billy Wilder that features remarkable performances from Fred MacMurray, Barbara Stanwyck, and Edward G. Robinson. The film is definitely a film that is filled with a lot of intrigue and suspense as well as sense of style that would create the ideas of what would become film noir. Especially in the way it plays with narrative and cinematic language that made the film something much more thanks in parts to the contribution of Raymond Chandler. In the end, Double Indemnity is a tremendous film from Billy Wilder.

Billy Wilder Films: (Mauvaise Graine) - (The Major and the Minor) - (Five Graves to Cairo) - The Lost Weekend - (The Emperor Waltz) - (A Foreign Affair) - Sunset Boulevard - Ace in the Hole - Stalag 17 - (Sabrina) - (The Seven Year Itch) - (The Spirit of St. Louis) - (Love in the Afternoon) - (Witness for the Prosecution) - Some Like It Hot - The Apartment - (One, Two, Three) - (Irma La Douce) - (Kiss Me, Stupid) - (The Fortune Cookie) - (The Private Lives of Sherlock Holmes) - (Avanti!) - (The Front Page) - (Fedora) - (Buddy Buddy)

© thevoid99 2013