IMDb > The Long Goodbye (1973)
The Long Goodbye
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The Long Goodbye (1973) More at IMDbPro »


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7.7/10   14,949 votes »
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Up 5% in popularity this week. See why on IMDbPro.
Leigh Brackett (screenplay)
Raymond Chandler (novel)
View company contact information for The Long Goodbye on IMDbPro.
Release Date:
7 March 1973 (USA) See more »
Nothing says goodbye like a bullet. See more »
Detective Philip Marlowe tries to help a friend who is accused of murdering his wife. Full summary » | Add synopsis »
Plot Keywords:
1 win See more »
(184 articles)
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User Reviews:
A neo-noir haiku for a crumbling 70's Los Angeles. See more (135 total) »


  (in credits order) (verified as complete)

Elliott Gould ... Philip Marlowe
Nina van Pallandt ... Eileen Wade

Sterling Hayden ... Roger Wade

Mark Rydell ... Marty Augustine

Henry Gibson ... Dr. Verringer

David Arkin ... Harry
Jim Bouton ... Terry Lennox
Warren Berlinger ... Morgan
Jo Ann Brody ... Jo Ann Eggenweiler
Stephen Coit ... Detective Farmer (as Steve Coit)
Jack Knight ... Mabel
Pepe Callahan ... Pepe
Vincent Palmieri ... Vince (as Vince Palmieri)
Pancho Córdova ... Doctor (as Pancho Cordoba)
Enrique Lucero ... Jefe

Rutanya Alda ... Rutanya Sweet
Tammy Shaw ... Dancer

Jack Riley ... Riley
Ken Sansom ... Colony Guard
Jerry Jones ... Detective Green
John Davies ... Det. Dayton
Rodney Moss ... Supermarket Clerk
Sybil Scotford ... Real Estate Lady
Herb Kerns ... Herbie
rest of cast listed alphabetically:

David Carradine ... Dave aka Socrates (uncredited)
Danny Goldman ... Bartender (uncredited)

Carl Gottlieb ... Wade Party Guest (uncredited)
Tracy Harris ... Detective (uncredited)
Ned Humphreys ... Store Clerk (uncredited)
Leslie McRay ... Lucille (uncredited)
Kate Murtagh ... Nurse (uncredited)

Arnold Schwarzenegger ... Hood in Augustine's Office (uncredited)

Leslie Simms ... Olive (uncredited)

George Wyner ... Cop at Beach (uncredited)

Directed by
Robert Altman 
Writing credits
Leigh Brackett (screenplay)

Raymond Chandler (novel "The Long Goodbye")

Produced by
Jerry Bick .... producer
Robert Eggenweiler .... associate producer
Elliott Kastner .... executive producer
Original Music by
John Williams 
Cinematography by
Vilmos Zsigmond (photographed by)
Film Editing by
Lou Lombardo 
Costume Design by
Kent James (costumes: men) (uncredited)
Marjorie Wahl (costumes: women) (uncredited)
Makeup Department
Bill Miller .... makeup artist
Lynda Gurasich .... hair stylist (uncredited)
Second Unit Director or Assistant Director
Alan Rudolph .... second assistant director
Tommy Thompson .... assistant director
Art Department
Sidney H. Greenwood .... property master (as Sydney Greenwood)
Sound Department
John Speak .... sound engineer (as John V. Speak)
Dick Vorisek .... dubbing mixer (as Richard J. Vorisek)
Jerry Brutsche .... stunts (uncredited)
Jack Cooper .... stunt driver (uncredited)
Hubie Kerns .... stunts (uncredited)
Camera and Electrical Department
Kenneth Adams .... key grip (as Ken Adams)
Randy Glass .... electrical gaffer
Joseph M. Wilcots .... camera operator (as Joe Wilcots)
Earl L. Clark .... assistant camera (uncredited)
Harry Rez .... dolly grip (uncredited)
Editorial Department
Scott Conrad .... assistant film editor
Tony Lombardo .... assistant film editor
Music Department
Jack Sheldon .... musician: trumpet (uncredited)
Other crew
Adell Aldrich .... script supervisor (as Adele Bravos)
Jean D'Oncieu .... production assistant
Regina Gruss .... unit publicist (uncredited)
Dan Blocker .... with special remembrance for
Crew verified as complete

Production CompaniesDistributors

Additional Details

Also Known As:
112 min
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Argentina:13 | Australia:M | Australia:PG (TV rating) | Canada:A (Ontario) | Finland:K-16 | France:U | Italy:VM14 | Netherlands:18 (1974) | Norway:16 | Sweden:15 | UK:18 | USA:R (Approved No. 23532) | West Germany:16

Did You Know?

Marlowe always wears a tie with American flags on it (the tie looks plain red in the movie due to cinematographer Vilmos Zsigmond's post-flashing techniques.See more »
Continuity: 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 »
Philip Marlowe:Who were the three DiMaggio brothers?
Terry Lennox:Vince, Dom, and, uh, Joe?
Philip Marlowe:Joltin' Joe, yeah.
See more »
Movie Connections:
Featured in Hot Rod (2007)See more »
The Long GoodbyeSee more »


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21 out of 28 people found the following review useful.
A neo-noir haiku for a crumbling 70's Los Angeles., 26 July 2008
Author: chaos-rampant from Greece

Much like the 30's hard-bop jazz music that opens the movie, The Long Goodbye appears on the surface to take its cue from classic film-noir. No surprise here, it IS based after all on the Raymond Chandler novel by the same name, Chandler as iconic a figure in the noir realm as you're likely to get and responsible for some of the most distinctly classic moments of the genre (Double Indemnity, The Big Sleep, also Strangers on a Train for Hitchcock). But instead of rehashing styles and themes from a bygone era of film-making, slaving them in the service of a hip or serviceable crime flick that passes the time, Altman instead takes Chandler's film-noir exoskeleton, strips it of all fat and hangs on it his own unique take.

Elliot Gould is Phillip Marlowe. Scruffy, sardonic and alienated private dick with a smart mouth and a cigarette eternally glued to his lips. He's cool alright but not the suave kind of cool that would impress dames in the 40's. He seems constantly out of place, doomed to observe and comment in his witty repartee on what's going on around him or just let the chips fall where they may. And they do.

Chandler's story is as good as one would expect from such a patriarch of hardboiled hijinks and the screenplay matches it every step of the way. All the staples of a noir film are present, simultaneously fulfilling the genre promise of a Phillip Marlowe film and in the same time preparing the ground for Altman's take on it; murder, missing money, unhappy marriages, a private eye hired to investigate, twists and turns. The works. Sprawling and convoluted like the best of noirs usually are. The dialogue crackling with inventiveness, shedding toughguy lingo for a sense of playfulness, rolling in and out of the picture in a stream-of-consciousness way.

Some of the twists and characters seem to carry a sense of seething malice, a fleeting glimpse on the seemy underbelly of the Great American Beast, the scars and ugliness of Hollywood showing behind a faded facade of glamour, an escalating creepiness factor that recalls the later works of David Lynch, predating him by a good number of years as it does. The mousey Dr. Verringe and the whole clinic subplot reminded me of Lost Highway for example.

What really elevates The Long Goodbye in another level is Altman's direction and Vilmos Zsigmond's cinematography. This is only my second Altman picture (after the very good McCabe and Mrs. Miller) but 2 hours in his presence were enough to leave an indelible sense that I'm watching the work of a director on top of his craft. Altman's camera is always on the move, slowly panning and zooming in and out of the frame, picking up details, guiding the eye but never getting in the middle of the story or screaming for attention. The whole thing has a naturalistic, subdued feel to it, what with the unobtrusive lighting and bleached-out, hazy look; no glitz or glamour here. Only the faded, long-gone impression of it.

The Long Goodbye is both a fantastic and somewhat hidden gem of 70's crime cinema and also one of the missing links in the evolution of noir, all the way from Sunset Blvd. to Mullholland Drive. Strongly recommended.

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Woman in the jeep in the last shot? Stuart Gardner
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