IMDb > Farewell, My Lovely (1975)
Farewell, My Lovely
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Farewell, My Lovely (1975) More at IMDbPro »

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Overview

User Rating:
7.2/10   4,095 votes »
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Popularity: ?
Down 2% in popularity this week. See why on IMDbPro.
Director:
Writers:
David Zelag Goodman (screenplay)
Raymond Chandler (novel)
Contact:
View company contact information for Farewell, My Lovely on IMDbPro.
Release Date:
8 August 1975 (USA) See more »
Genre:
Tagline:
I need another drink ... I need a lot of life insurance ... I need a vacation ... and all I've got is a coat, a hat, and a gun !
Plot:
Los Angeles private eye Philip Marlowe is hired by paroled convict Moose Malloy to find his girlfriend Velma, former seedy nightclub dancer. Full summary » | Full synopsis »
Awards:
Nominated for Oscar. Another 1 win & 1 nomination See more »
NewsDesk:
Hollywood Producer Kastner Dies
 (From WENN. 2 July 2010, 12:26 PM, PDT)

User Reviews:
Nice film; magic Mitchum. See more (68 total) »

Cast

  (in credits order) (verified as complete)

Robert Mitchum ... Philip Marlowe

Charlotte Rampling ... Helen Grayle

John Ireland ... Det. Lt. Nulty

Sylvia Miles ... Jessie Halstead Florian

Anthony Zerbe ... Laird Brunette

Harry Dean Stanton ... Det. Billy Rolfe

Jack O'Halloran ... Moose Malloy

Joe Spinell ... Nick

Sylvester Stallone ... Jonnie
Kate Murtagh ... Frances Amthor

John O'Leary ... Lindsay Marriott
Walter McGinn ... Tommy Ray
Burton Gilliam ... Cowboy
Jim Thompson ... Judge Baxter Wilson Grayle
Jimmy Archer ... Georgie (as Jimmie Archer)
Ted Gehring ... Roy
Logan Ramsey ... Commissioner
Margie Hall ... Woman
Jack Bernardi ... Louis Levine
Bennett Ohta ... Patron in Pool Hall (as Ben Ohta)

Jerry Fujikawa ... Fence
Richard Kennedy ... 1st Detective
John O'Neil ... 2nd Detective (as John O'Neill)
Mark Allen ... 3rd Detective
Andrew Harris ... Mulatto Child
Napoleon Whiting ... Hotel Clerk
John Eames ... Butler
Cheryl Smith ... Doris (as Rainbeaux Smith)
Stu Gilliam ... Man #1
Roosevelt Pratt ... Man #2
Dino Washington ... Bouncer
Harry Caesar ... Bartender
Bill Gentry ... Hood
Cory B. Shiozaki ... Waiter
Noelle North ... Girl
Wally K. Berns ... Father (as Wally Berns)
Lola Mason ... Mother

Joan Shawlee ... Woman in Ballroom

Eddra Gale ... Singer (as Edra Gale)
Karen Gaston ... Prostitute
rest of cast listed alphabetically:
William 'Billy' Benedict ... (uncredited)
Elliot Carpenter ... Ghetto Bar Piano Player (uncredited)
Olivia Enke ... Prostitute (uncredited)
Su Ling ... Prostitute (uncredited)

Susan Stewart ... Prostitute (uncredited)

Directed by
Dick Richards 
 
Writing credits
David Zelag Goodman (screenplay)

Raymond Chandler (novel)

Produced by
Jerry Bick .... executive producer
Jerry Bruckheimer .... producer
Elliott Kastner .... executive producer
George Pappas .... producer
 
Original Music by
David Shire 
 
Cinematography by
John A. Alonzo (director of photography)
 
Film Editing by
Joel Cox 
Walter Thompson 
 
Casting by
Louis DiGiaimo  (as Louis Di Giaimo)
 
Production Design by
Dean Tavoularis 
 
Art Direction by
Angelo P. Graham (uncredited)
 
Set Decoration by
Robert Nelson  (as Bob Nelson)
 
Makeup Department
Judith A. Cory .... hair dresser (as Judy Alexander)
Frank Westmore .... makeup artist
 
Production Management
Tim Zinnemann .... unit production manager
 
Second Unit Director or Assistant Director
Henry J. Lange Jr. .... assistant director (as Henry Lange Jr.)
David Sosna .... assistant director (as David O. Sosna)
Tim Zinnemann .... first assistant director
 
Art Department
Barry Bedig .... property master
Eugene Acker .... painter (uncredited)
Gene Anderson .... assistant props (uncredited)
Nick F. Caprarelli .... swing gang (uncredited)
Robert W. Dutton .... swing gang (uncredited)
Ron Greenwood .... props (uncredited)
Johnny Lattanzio .... stand-by painter (uncredited)
James F. Orendorff .... construction coordinator (uncredited)
Thomas L. Roysden .... leadman (uncredited)
 
Sound Department
Tom Overton .... sound mixer
Bill Phillips .... sound effects
Richard Portman .... sound re-recording mixer (as Dick Portman)
Dennis Jones .... boom operator (uncredited)
 
Special Effects by
Chuck Gaspar .... special effects (uncredited)
 
Stunts
David S. Cass Sr. .... stunts (uncredited)
Bob Herron .... stunts (uncredited)
Tommy J. Huff .... stunts (uncredited)
 
Camera and Electrical Department
Gary R. Dodd .... key grip (as Gary Dodd)
Chuy Elizondo .... first assistant camera
Earl Gilbert .... gaffer
Chris Schwiebert .... camera operator
Joseph Cosko Jr. .... second assistant camera (uncredited)
Bob Fillis .... electrician (uncredited)
Bud Heller .... best boy grip (uncredited)
Cecil Lupton .... best boy electric (uncredited)
Patrick Marshall .... electrician (uncredited)
Bernie Schwartz .... dolly grip (uncredited)
John R. Shannon .... still photographer (uncredited)
 
Costume and Wardrobe Department
Sandy Berke Jordan .... wardrobe: women (as Sandra Berke)
G. Tony Scarano .... wardrobe: men (as Tony Scarano)
Silvio Scarano .... wardrobe: men (uncredited)
 
Music Department
Ralph James Hall .... music editor
Richard Nash .... musician: trombone soloist
Chuck Domanico .... musician: acoustic bass (uncredited)
Jack Hayes .... orchestrator (uncredited)
Artie Kane .... musician: piano (uncredited)
Ronnie Lang .... musician: alto sax solos (uncredited)
Michael J. McDonald .... score remixer (uncredited)
David Shire .... conductor (uncredited)
David Shire .... orchestrator (uncredited)
Dan Wallin .... music engineer (uncredited)
Dan Wallin .... scoring mixer (uncredited)
 
Transportation Department
Ronnie Baker .... driver captain
John Brumby .... picture car (uncredited)
 
Other crew
Barry Bernardi .... production assistant
Exa Durham .... secretary to producer
Marc Epstein .... assistant to producer
Wayne Fitzgerald .... title designer
John Franco .... script supervisor (as Johnny Franco)
Stanley Mark .... executive accountant
Barbara Persons .... auditor
Nanette Siegert .... production secretary
Rolly Harper .... caterer (uncredited)
Sydney Levine .... secretary to director (uncredited)
Jerry Pam .... unit publicist (uncredited)
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
95 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Certification:
Company:

Did You Know?

Trivia:
The movie was part of a predominantly 1970s revival cycle of pictures adapted from novels by Raymond Chandler. The films included Marlowe (1969), The Big Sleep (1978), The Long Goodbye (1973) and Farewell, My Lovely (1975) as well as Double Indemnity (1973) (TV) made for television (Chandler was screenwriter on the original Double Indemnity (1944)) with Body Heat (1981) suggested by it following early in the next decade.See more »
Goofs:
Continuity: When the boat captain, Marlowe, and Malloy are negotiating about the boat rental fee, the captain's cigarette suddenly disappears between shots.See more »
Quotes:
Moose Malloy:You a private Dick?
Philip Marlowe:No. I'm your fairy godmother.
See more »
Movie Connections:
Referenced in A Simple Story (1978)See more »
Soundtrack:
SundaySee more »

FAQ

This FAQ is empty. Add the first question.
56 out of 74 people found the following review useful.
Nice film; magic Mitchum., 30 August 2000
Author: Alice Liddel (-darragh@excite.com) from dublin, ireland

In the wake of 'The Long Goodbye' and, especially, 'Chinatown', there was a profusion in the mid- to late-70s of recreated films noirs of the Chandlerian bent, many featuring aging stars. 'Farewell My Lovely' is one of the best - while it does not reek of the depravity of Dmytryk's 1944 version, starring Dick Powell, it is broader in scope, and truer to a kind of lived-in realism, as opposed to hard-boiled iconography. It's nice to see 1940s L.A. close to what it might have looked like, and not the vague dreamworlds presented by classic noir. it would be a mistake to assume that this is a progressive, or revisionist movie - while it scores well in its treatment of race, the fundamental misogyny of Chandler's source novel and Dmytryk's film lingers. Indeed, it is less palatable, in that 40s Hollywood made its villainesses glamorous, charismatic and desirable; Charlotte Rampling seems barely to exist on screen, a mere assemblage of corruption and cold amorality.

The hard-boiled detective fictions of Dashiell Hammett and Raymond Chandler were created in conscious opposition to the reactionary puzzles of the English Golden Age (eg Agatha Christie), which were exercises in asserting order and social control. Chandler tried to express a bleaker reality, one where arbitrary violence and corruption is not so easily contained, where smaller crimes may be solved, but society itself is rotten, diseased, irredeemable. Chandler pits his hero Philip Marlowe against this malaise, tough, solitary, misanthropic, frequently compared to medieval knights, as hopelessly out of his time as Don Quixote.

Chandler's novels are completely filtered through the prejudiced narration of Marlowe, so instead of realism we get a barely controlled expressionism, riddled with ideology. Marlowe is unable to trust anyone, and defines himself against everyone else, the Other, especially women and blacks. This is a subtext in the novel, but RIchards foregrounds it in the early scenes of this film. When Marlowe enters a black neighbourhood investigating Velma, he is very uncomfortable in an alien environment. Although, as a detective, he has the freedom to navigate the city, to access both poor black neighbourhoods and obscenely wealthy white mansions in a way neither one of these nor the other can, he is still constrained by ideology, the ideology of his times - he is not as apart from the corruption as he thinks. And so we frequently see him indoors, even imprisoned, by cops and criminals alike - like a conservative, everything is connected for Marlowe, except everything stinks.

This making mental states physical is important for a narrative seen through its hero's head. It puts us on our guard, distances us from Marlowe in a way Chandler never lets us, allows us to be more critical. Another device is the bizarre use of narrative voiceover. This seems conventional enough, Marlowe telling us the story, controlling, interpreting, often verbatim from the book. But his voiceover is broken - he starts addressing us, then, within that, he tells Nulty a story; so that the viewer is at two removes from a story that we only have it's teller's word for its veracity. In its modest way, the film DOES have revisionist aspirations.

Unlike Altman's film, 'Farewell' is purely enjoyable on the level of a murder-mystery thriller - the plot is satisfyingly, Chandlerianly (sic?) opaque; there are sufficient interesting supporting characters; the violence seems quaintly 1940s; the music is exciting. The film, therefore, would be pleasant, but harmless, except for one crucial element: Robert Mitchum, America's greatest actor. His aging Marlowe might be more appropriate to 'The Long Goodbye', but this is an astonishing portrait of middle- giving on to old-age, a study of a man struggling with cynicism, trying to maintain order (wisecracks; narration; frequent references to baseball, a game with rules) and humanity (the kid) in a world that only offers diabolic inversions of each.

Even more resonantly, the film is a film about film noir, about acting, about Robert Mitchum, soon to become famous in the period represented, soon the embodiment of the doomed noir hero. The Chandlerian dialogue that works wonderfully on the page can seem corny and stilted when spoken, but Mitchum pulls it off with melancholy beauty. He is the only screen Marlowe that seems like an actual human being who has lived - not even Bogie quite managed that.

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