Review of Murder, My Sweet (1944) by Augustine H — 01 Jul 2014

Dick Powell gives one of his best dramatic performances as the classic private investigator Philip Marlowe in this adaptation of Raymond Chandler's classic novel, Farewell, My Lovely. The story is told in flashbacks and revolves around Marlowe's investigation of a missing jade necklace. The plot is typically convoluted for a Chandler novel. Marlowe, a somewhat down-on-his-luck private detective, is approached by Moose Malloy, a giant of a man who recently released from prison and is searching for his ex-girlfriend. Marlowe reluctantly accepts the case, but before he can make headway, he gets a second client, who wants Marlowe to accompany him on a late night pay-off. These two cases, although not apparent at the time, of course are intertwined and lead to numerous complications and murders.

It contains all the characteristics of the genre: shadowy and starkly contrasted black & white cinematography, treacherous and morally ambiguous characters, voiceover narration and snappy dialogue. All of these elements work fine in the film, but what is most memorable is the surreal dream sequence and its drug-hazed aftermath when Marlowe is held captive in what appears to be an insane asylum. The scene powerfully captures the sense of confusion and weakness Marlowe is confronted with. The striking imagery of the sequence is so effective because it contrasts with the rest of the film that is mostly fast paced and dialogue-driven. Director Edward Dmytryk and cinematographer Harry Wild employ a lot of low key lighting and low angles, so this is a nice example of noir expressionist lighting. The confusing plot is full of plot twists and turns that further underscore the unpredictable nature of the world the film is set in. The mood is equally important to the plot; in fine film noir style.

An excellent cast supports Dick Powell. Claire Trevor, as the femme fatale who it turns out is the woman the Malloy is looking for. Helen Grayle strikes the right balance of greed, tawdriness, sex appeal & cattiness, to match up with Marlowe. Perfect for a film noir. Anne Shirley, as Helen's step daughter provides a fresh faced softness to counteract against her stepmother's hardness. Her character brings out the humanity in Marlowe. Powell's chemistry with both ladies is evident. Otto Kruger is at his slimy best as Jules Amthor, the shady psychiatrist and con artist. But among the supporting actors, the most memorable one is former pro wrestler Mike Mazurki as the easily angered lovestruck punch drunk brute Moose Malloy who literally steals every scene he's in. His declaration that s girl is "as cute as lace pants" is memorable.

This is noir the way its supposed to be. This is as classic film noir as they get. I would recommend this to those who are looking for the genre at it was meant to be - "like lighting a stick of dynamite, and telling it not to go off"!