I have concluded that reading Raymond Chandler at an impressionable age has contributed the most to my further life choices, be it ‘literature’, movies, terse sentences and of course typing in the ‘courier new’ font.
Chandler started writing when the oil industry crashed and he had nothing much left to do, his creation reflects himself; being weary is his core competence.
If I could go back and play the irritating game invented for social engagement, ‘describe your creation in just one word’, Chandler would have said “tired”. If he was kind, he would add, “I’m tired. Enough!” As always breaking the rules.
So when there is a delay in our usual blog posts, it is probably because we are generally tired. Tired of ourselves, tired of the world, tired and yet careful not to add the growing empty mass that is film writing. Readers must be thankful in that case.
We forgot to add one word to the above: growing boring empty mass that is film writing.
Boring.
“You’re a very good-looking man to be in this kinda business”
Enter Robert Mitchum
Marlowe is supposed to be in his mid-thirties in the works, curiously but not unnatural the best portrayals of the private eye has come from very old ‘has-seen-it-all’ men.
Bogart was in his forties and Robert Mitchum almost touching sixty, it’s that kind of a role. It requires that kind of experience, it is the ‘hamlet’ of all detective roles, no I’m not joking. A sequel to the Big Sleep was called ‘Perchance to Dream’ which is from the famous of all famous soliloquies.
People and war have made our hero tired, and out of this tiredness comes sparkling wisdom.
Why does Marlowe still do it?
For the much quoted “25 dollars a day plus expenses?”
Nah, Marlowe doesn’t snoop around for money, but he doesn’t evoke moral mightiness too, he certainly doesn’t identify with a cause or putting criminal behind bars. Thankfully he is not insufferable with his ‘genius’ and actually very funny, like a real person.
I guess he just likes looking at people and what they do.
Looking brings us to Robert Mitchum, in many ways the spiritual remnant of Bogart’s distant masculinity, but looking at Mitchum’s eyes we know that this present sadness had once seen sparkle, that alone makes me feel that Mitchum is truer as Marlowe.
Marlowe watches because he knows that deep down all the depravity there is some tenderness, that’s all he looks for in a client, not money, not name, not fame. And he will do anything to look at that tiny true part of yourself.
Evil doesn’t startle him as much as innocence and goodness
People first, plot go to hell
For Chandler, the plot was secondary, the characters weren’t, he would never describe anyone unfairly nor would he puncture them for the sake of plot.
An open opponent of this whole locked room plotting business made him see people as people and not as clues or alibi to get going to the next page.
Marlowe is the same wise-ass to the police as he is to the crooks. An ending in a Chandler story is not its logical conclusion or hurrah for its hero, but the acceptance of reality.
The thread of Farewell My Lovely the film is very simple and it follows the book closely, just out of jail thug Moose Malloy wants to get his girl back. Will Marlowe do it or not?
And the hits keep on coming
Marlowe is always narrating his tale, when we meet him he is just out of a case, naturally tired; Mitchum looks like he just wants to go home but cannot when confronted by his innocent of a thug client.
Within moments Marlowe becomes the centre-piece of a worm caught in a web, and all he does is just give a sideward glance.
Very easy to be dismissed as non-acting, especially in the age that we live in (as in the golden age of non-acting); but I think tiredness is difficult to bring out as an emotion without being dramatic.
Mitchum gets hit on the head, shot at, danced with, seduced by, but all through the film but he plays it like a detective who knows the ending every single time, people will be people.
I don’t really care about the twist in the end
There is a twist in the end, but the film (naturally the novel) is not moving towards it a big reveal way, for fans of detective fiction and crime thrillers this could prove dampening.
Many things happen and so does a twist.
Detection truly could be one of the most boring jobs if not for the humongous amounts of exciting literature written about it.
<pause for reflection>
Maybe all jobs are boring or it is the nature of them to become boring. But somehow Marlowe and hence Mitchum(because of his ability to understand the character) seem to have cracked it.
This detective is a seeker of the intangible, something remote and indescribable as human kindness, that is his spiritual quest, something not even the thighs of a femme fatale or the muzzle of a gun could distract him from.
Hamlet of the detective class, indeed.
That’s an admirable state to be in and this is an admirable movie.
Out of the past is our series on movies that are anything but current,new,fresh etc; we find the idea of film writing just for the sake of a movie release distressing and also it demeans the timelessness of film itself. Mad or what, we won’t be reviewing old films,just writing about them.
Having seen hundreds of films in which actors routinely break into song for no reason, the musical is a genre something I could slip right into, only that in La La Land there is always some reason for the music.
The Lowly Laureate 