This adaptation of the Raymond Chandler novel 'Farewell, My Lovely', renamed for the American market to prevent audiences mistaking it for a musical (for which Powell was already famous) has private eye Philip Marlowe hired by Moose Malloy, a petty crook just out of prison after a eight year stretch, to look for his former girlfriend, Velma, who has not been seen for the last six years. The case is tougher than Marlowe expected as his initially promising inquiries lead to a complex web of deceit involving bribery, perjury and theft, and where no one's motivation is obvious, least of all Marlowe's.Written by
Mark Thompson <email@example.com>
In order to make Mike Mazurki more threatening, Edward Dmytryk had the sets built with slanted ceilings to force the perspective. As Mazurki walked closer to the camera, he seemed almost to grow. See more »
When Powell leaves the car to look for the person for the payoff, he draws his gun from his left pocket, then replaces it in his left pocket. After he is sapped and woken up, he draws it from his right pocket. See more »
Chandler once said that Powell was his favourite - not, naturally, his ideal - screen Marlowe. Though "Bogart is always excellent as Bogart", he wasn't Marlowe.
Claire Trevor is the classic proof of how personality is more important than looks, even in sexy parts. Short, powerfully built, coarse-featured, she comes across here as overpoweringly glamorous and alluring.
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