A down on his luck gambler links up with free spirit Elliot Gould at first to have some fun on, but then gets into debt when Gould takes an unscheduled trip to Tijuana. As a final act of ... See full summary »
Two convicts break out of Mississippi State Penitentiary in 1936 to join a third on a long spree of bank robbing, their special talent and claim to fame. The youngest of the three falls in ... See full summary »
Pinky is an awkward adolescent who starts work at a spa in the California desert. She becomes overly attached to fellow spa attendant, Millie when she becomes Millie's room-mate. Mille is a... See full summary »
Chain-smoking, wisecracking private eye Philip Marlowe drives a buddy from LA to the Tijuana border and returns home to an apartment full of cops who arrest him for abetting the murder of his friend's wife. After Marlowe's release, following the reported suicide in Mexico of his friend, a beautiful woman hires him to locate her alcoholic and mercurial husband. Then, a hoodlum and his muscle visit to tell Marlowe that he owes $350,000, mob money the dead friend took to Mexico. Marlowe tails the hood, who goes to the house of the woman with the temperamental husband. As Marlowe pulls these threads together, his values emerge from beneath the cavalier wisecracking. Written by
Two taglines on movie posters for the picture were fabricated Phillip Marlowe quotes. They were, "Nothing says goodbye like a bullet" and "I have two friends in the world. One is a cat. The other is a murderer". See more »
The ink handprints include the palm of Marlowe's hand, but it did not appear that the palm of his hand was on the ink pad. See more »
Altman was on a roll by 1973 when he chose to film Leigh Brackett's screenplay of Raymond Chandler's "The Long Goodbye", which is considered his last great novel. But Altman decided to transmogrify the novel's serious hard-nosed private eye, Philip Marlowe into a bumbling "Rip Van Winkle" type character who has figuratively been asleep for the last two decades and has missed all the psychedelia of the Sixties and the dark cloud descended in the Seventies. And who better to play such a role, than the great Elliot Gould? Even though the novel's tone and time period have been changed, the highly-complex plot remains, and due attention must be paid.
One of the film's greatest strengths, is the cinematography by the great Hungarian DP, Vilmos Zsigmond. He has worked with Altman on "McCabe & Mrs Miller" (1971) and "Images" (1972) and on the former, he used a technique known as "flashing", this was an unpredictable method for eliminating contrast from the negative to give a pastel look to the show and to bring out subtle shadows in the nighttime scenes by exposing the already-exposed negative to more light in the lab during processing. But on "McCabe", it was used in moderation, but on "The Long Goodbye", he, Altman and Skip Nicholson at Technicolor all worked together to more or less use varying degrees of flashing for the WHOLE picture! It was a big risk, but it paid off - the movie has a look all of it's own. The camera constantly keeps moving in this film and gives a the viewer a great sense of voyeurism and keeps you studying the frame for details. This film is a visual marvel, in my opinion.
Altman excelled himself here, he took risks and put all he could into the film, and I think that "The Long Goodbye" can now be seen as a pivotal Seventies masterpiece - though those words may be hard to swallow for some people.
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