Review of The Long Goodbye (1973) by Daniel K — 15 Jan 2011

As an avid Raymond Chandler reader, I am always interested in films that adapt his works. When I first heard of "The Long Goodbye" I assumed that it was a faithful adaptation of Chandler's novel. When I learned that it was not, it dampened my enthusiasm for it and I avoided it for awhile. However, finally I did see it and in the amusingly repeated words of Elliott Gould's iteration of Philip Marlowe, "It's okay with me.".

The setting has been changed from the 1950s to the 1970s. However, the film does have an appropriate look that is often dark and would fit with a more conventional noir style detective film. Added to this is John Williams' excellent score, which makes the most of variations on one song.

Elliott Gould leads the cast as the iconic detective Philip Marlowe. Gould's Marlowe is in a number of respects the polar opposite of Bogart's famous portrayal of the detective in "The Big Sleep" (1946). He is exceedingly casual, sometimes mutters lines that Bogart would deliver with force and is often meek or clumsy. It was interesting to see this unorthodox version of Marlowe, and Gould handled the role well. The film even parodies the frequent smoking of Hollywood classics by highlighting the fact that Marlowe smokes in each scene and lights a match on any surface available. Amusingly one of the characters even calls him "Marlboro". Marlowe's frequent smoking appears excessive and unrefined, which is a fitting given contemporary negative perceptions of smoking.

The rest of the cast is solid as well. Especially notable from the supporting is from Mark Rydell, who is convincing and shocking as the gangster Marty Augustine. Nina Van Pallandt is also effective as the classy, suffering Eileen Wade and as is Sterling Hayden as the belligerent alcoholic Roger Wade. Henry Gibson was an apt choice as the small yet imposing Dr. Verringer. I also enjoyed Ken Sansom as the guard who excels at impressions of famous Hollywood actors and actresses.

There is still a mystery story in this film as in the novel. It is less intense than the original and liable to displease those looking for a more precise Chandler adaptation, but for me it was satisfactory. This film does effectively give a sense of the seediness surrounding Marlowe through the characters as in Chandler's novels. The combination of the novelty of Gould's Marlowe, the mystery story and the character interactions was enough to keep this film interesting despite the deviations from the novel.

The only part of the film that didn't strike me favorably was the ending. I realize that the Marlowe of this film is not the same as that of the books, but for me his decision near the film's end was too far beyond anything Philip Marlowe would do. No doubt those that favor the ending will argue it fits with the tone of the film, but ultimately my complaint about the ending is a minor one against this overall great film. However, I was amused by the crackly "Hooray for Hollywood" at the film's end. Those willing to see a revisionist approach to Chandler should give "The Long Goodbye" a chance.