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Howard HawksKamera:
Sidney HickoxMusik:
Max SteinerBesetzung:
Humphrey Bogart, Lauren Bacall, John Ridgely, Martha Vickers, Dorothy Malone, Peggy Knudsen, Regis Toomey, Charles Waldron, Charles D. Brown, Bob Steele (mehr)Inhalte(1)
L.A. in den 1940ern: Eine Verbrechenswelle rollt über die Stadt und gibt die Polizei der Lächerlichkeit preis. Florierende Zeiten für Privatdetektive wie Philip Marlowe. Als Einzelkämpfer schlägt er sich durch ein Gestrüpp aus Korruption, Mord und Erpressung, bei dem Freund nicht mehr von Feind zu unterscheiden ist. Sein neuester Fall allerdings bringt auch den coolsten aller Detektive ins Schwitzen. Auf den ersten Blick scheint die Sache klar – Marlowe soll einem Erpresser das Handwerk legen. Doch bei genaueren Nachforschungen bemerkt Marlowe, dass auch der Auftraggeber und seine Töchter die Finger im Spiel haben. Marlowe gerät in ein Labyrinth aus Intrigen und Verrat, das bald auch sein eigenes Leben bedroht. (Neue Visionen)
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If we talk about the noir genre, The Big Sleep is one of the titles that comes to mind first for a film fan, and you could even say that it is a showcase of the genre. However, it is not a typical representative of the black series because noir includes bitter endings and partnerships going awry, and The Big Sleep has a too optimistic outcome for noir. The film is also weakened by two shortcomings. The final form was influenced by censorship, which did not consider the homosexual relationship between two negative characters and also discreetly concealed the nature of illegal activities in Geiger's bookstore - namely the production and distribution of pornographic materials. This, however, leads to the loss of motivations and connections important for understanding the story. The script also has its shortcomings, as, for example, it does not provide any explanation for the chauffeur's murder. However, The Big Sleep did not gain its iconic status by mistake or for free. The chemistry between Bogart and Lauren Bacall works great and could be presented as an example of an ideal film partnership. Bogart's role as Marlowe suited him perfectly, both in appearance and intonation, and he had a sense of irony and was able to lightly dismiss his detective at the right moment. The director had a sense of atmosphere and mastered the craft of filmmaking excellently. He may not have been a seeker of new paths, but he understood what works in the genre, how to properly dose it, and use it. The complexity of the story and the presence of stars helped to cover up the shortcomings of the script. Overall impression: 85%.
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To my taste, an overabundant glut of characters and motivations that you can soon get lost in if you fail to pay attention for a second. On the other hand, it’s properly unpredictable and atmospheric and rewards the attention of the viewer with regular, smart twists. That said, its cult status is mostly thanks to the cynical detective played by Humphrey Bogart, who in this role, even after 70 years, is still one of the five most charismatic actors in Hollywood history; if not three. 80%
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Nothing too terrible, but a great disappointment having just seen the perfect The Maltese Falcon. Except for the final and incredibly suspenseful ten minutes, this is a confused story that is tripped up by the knot of supporting characters. Lonino, Eddie, Harry, Geiger, Brody, and Regan blend into one long before the climax. The spirit of noir is carried, unsurprisingly, by Humphrey Bogart and the dazzling Lauren Bacall.
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A great atmosphere, traditionally fantastic Humphrey Bogart as Philip Marlowe, good tempo and the dialogues are almost unbelievably delicious. On the other hand, it has a needlessly overcomplicated screenplay. The Big Sleep is without a doubt one of the best classic film noir movies, but there are also other better ones. But at least one thing I have to admit: The beginning of the original trailer for The Big Sleep is priceless.
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Humphrey Bogart fits perfectly into this role for me; he delivers lines superbly and always knows exactly what to say. He's wonderfully dry, which is absolutely essential for the character of Philip Marlowe. He does it brilliantly, and it's precisely he - in confrontation with all those women - who gives the film direction and pulls it through to a successful conclusion. Noir as it should be. And the main character doesn't even have to die in the end.
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