The Big Sleep
1946, United States
Director: Howark Hawks
Screenplay: Leigh Brackett, William Faulkner (!), Jules Furthman
Novel: Raymond Chandler
About fifteen minutes into this movie I had the unsettling, and somewhat familiar, feeling that I’m just not smart enough to follow complex plots. After all, I’m a guy that was hopelessly confused an hour into the first Mission Impossible (the only certainty was that if you put the green half of the gum with the red half, it would explode). Fortunately an internet consultation confirmed that the Big Sleep is considered to be one of the most baffling movies in history.
Thus reassured, I watched the movie not once but twice, the second time with a pen and paper to keep track of the numerous characters and their connections. Midway through the film I concluded that, ultimately, there are plot points that really do not hang together in this complex detective story. Humphrey Bogart’s character, Phillip Marlowe, is possessed with at least two superhuman powers – his irresistibility to every woman he encounters, and an absolutely impossible gift for linking ostensibly unrelated things. Some of the questions I wrote down as I watched the movie the second time:
“How does Marlowe suspect Brody killed Geiger?”
“How does he guess who Eddie Mars is when he first meets him?”
“How does he see through Vivian and Mars’ ruse at the club?”
“How does he figure Sean Regan is in any way connected to Geiger?”
Marlowe not only figures these things out, but figures them out with an absolute authority and certainty. Sherlock Holmes has nothing on Bogie! These questions leave out the most famous and hilarious plot hole in the film, which was, according to one account, pointed out by Bogart himself on set: no one knows who killed the chauffeur, Owen Taylor. Even the novelist didn’t know.
Fortunately, the Big Sleep’s convoluted plot is easily ignored. Where the movie shines is in its incredibly witty dialogue, the sort that could only compound the Bogart character and legend. Bogart is just sublimely sarcastic in this movie, and a joy to watch. The Big Sleep also captures the legendary actor during a critical moment in his life. He was going through an unhappy marriage and struggling with feelings for his co-star and future love of his life Lauren Bacall. The chemistry between Bogart and the 20-year old Bacall in The Big Sleep is fascinating, and provides the film with a great side story about one of the 20th century’s most larger-than-life individuals.
Style: 7
The Big Sleep is rather straightforward film noir. The style in this film is almost entirely supplied by Bogart himself – his delivery, his sarcasm, his perfect street-smart demeanour. I get the impression that Bogart’s persistent and distinct character was a joy to writers, who continued to gift him with some of the greatest dialogue ever penned.
Substance: 8
The plot is hopelessly complex and ultimately based around tenuous suppositions and convenient plot twists. It doesn’t matter much, though, because Phillip Marlowe is a very fun character to watch. Bogart and Bacall’s real-life romance captures one of the all-time great actors at a critical period in his life.
Overall: 8
The Big Sleep would rate a 9 in dialogue alone. It would also probably deserve a 9 for historical significance, since it is one of the marquee examples of film noir and Bogart’s career. But I have to deduct a point for a plot that would be nigh impossible to unravel in a single viewing, and wouldn’t leave you with much satisfaction even if you did.
November 7, 2008 at 2:00 am
Honestly, I saw the Maltese Falcon and this back to back twice. I always thought the Maltese Falcon was better. I actually have some things to say, but I’m a little tired and somewhat drunk. BTW you’re not the only one confused. as you stated, when they made this movie they consulted the author about a few plot points and even he admits he was lost as to who killed one of the people. That said, I think all your points are valid and agre to the rating.
November 7, 2008 at 9:20 am
The book is just as hard to follow, so don’t feel bad. But both are done so well, you almost don’t care while reading/watching. it’s only upon retrospect that things don’t add up. The Coens took big inspiration from The Big Sleep for The Big Lebowski, overly confusing plot and all.
By the way, there is one other certainty in the Mission: Impossible movies – that Tom Cruise can soar like an eagle and emerge unscathed whenever thrown about by an otherwise fatal concussive blast (see also M:I 3).
November 7, 2008 at 2:48 pm
I saw a preview for Valkyrie yesterday. Tom Cruise as a Nazi officer who is leading a conspiracy to kill Hitler.
Tom Cruise. Nazi officer. American accent? Uh… it’s called acting. You could try talking to Guy Pierce, Hugh Jackman, or Russel Crowe about it.
November 7, 2008 at 3:17 pm
No English accent? Never seemed to bother the cast of Robin Hood: Prince of Thieves. Hell, even Slater used a borderline English accent in that one.
Anyone else find it funny that when Nazis are the vilains in an American movie, they usually speak with English accents instead of, oh, I don’t know, GERMAN accents? Wolf Kahler as Deitrich in “Raiders of the Lost Ark” being mayyyybe the one exception.
November 8, 2008 at 3:46 pm
Actually, I think German villains have German accents slightly more times than French characters in general. Movies set in France always use English accents, except for the random French actor who is in it to somehow legitimize it (think Man in the Iron Mask, yet another movie I enjoy for no defensible reason
)