Murder, My Sweet (1944)

After being hired to find an ex-con's former girlfriend, Philip Marlowe is drawn into a deeply complex web of mystery and deceit.

Director:

Edward Dmytryk

Writers:

John Paxton (screenplay), Raymond Chandler (novel)

Stars:

Dick Powell, Claire Trevor, Anne Shirley

1 win.

Cast

Complete credited cast:
Dick Powell	...	Philip Marlowe
Claire Trevor	...	Helen Grayle / Velma Valento
Anne Shirley	...	Ann Grayle
Otto Kruger	...	Jules Amthor
Mike Mazurki	...	Joe 'Moose' Malloy
Miles Mander	...	Leuwen Grayle
Douglas Walton	...	Lindsay Marriott
Donald Douglas	...	Police Lieutenant Randall (as Don Douglas)
Ralf Harolde	...	Dr. Sonderborg
Esther Howard	...	Jessie Florian

Storyline

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.

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Plot Keywords:

jade necklace | stolen jewelry | man in undershirt | investigator | stepmother | 

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Taglines:

Haunted by a lovely face... hunted for another's crime!

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Genres:

Crime | Drama | Film-Noir | Mystery | Thriller

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Certificate:

Approved

Details

Country:

USA

Language:

English

Release Date:

22 February 1945 (USA)

Also Known As:

Farewell, My Lovely

Filming Locations:

Argyle Hotel - 8358 Sunset Blvd., West Hollywood, California, USA

Box Office

Budget:

$400,000 (estimated)

Company Credits

Production Co:

RKO Radio Pictures

Technical Specs

Runtime:

95 min

Sound Mix:

Mono (RCA Sound System)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

The checkered suit worn by Mike Mazurki was a previously worn by Victor McLaglen two years previous in RKO's Call Out the Marines (1942).

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Goofs

Lindsay Marriott's driver's license was issued 7/10/1942. According to the license, Marriott was born 5/5/1912. This would make him 30 at the time the license was issued, not 32 as is stated on the license.

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Quotes

Philip Marlowe: Now this is beginning to make sense, in a screwy sort of a way. I get dragged in and get money shoved at me. I get pushed out and get money shoved at me. Everybody pushes me in, everybody pushes me out. Nobody wants me to DO anything. Okay, put a check in the mail. I cost a lot not to do anything. I get restless. Throw in a trip to Mexico.

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Alternate Versions

Exists in color-computerized version.

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Connections

Referenced in Lady in Cement (1968)

User Reviews

Film Noir 101

This is the movie that hooked me on "Film Noir." I first saw this on the late show while suffering a killer flu. Even through local TV editing and enough medicine to tranquilize a circus tent, it had me sitting at attention from start to finish. It wasn't until several years later that I got to see it uncut on cable that I got the full effect. Having grown up with Bogart's hard-boiled private eye archetype, Dick Powell was a complete revelation to me. If you double-bill this with Bogart's "Big Sleep," you see at once that Powell truly IS Phillip Marlowe (even Raymond Chandler thought so), and Bogart is much better suited to portray Hammet's colder, meaner Sam Spade. Powell gives Marlowe a vulnerable cynicism as well as a touch of the "everyman," that Bogart wouldn't be able to pull off until later in his career. Powell's background in romantic musicals gives him access to a far deeper emotional range, needed to play the complex and conflicted Marlowe; his cynicism, his humour, his loyalty to his code...it's all there. Powell manages to give extra resonance to some of Chandler's throw-away similes! No wonder he claimed this as his favorite role!

The direction by Edward Dmytryk and cinematography by Harry Wild are perfect, giving the film a tight, economical yet alluring vintage "feel". Working on a tight budget, they manage to infuse it with all the seedy, chaotic topography that would serve as the touchstones for every film of this type from "Night of the Hunter" to "Blade Runner." While this isn't the first Noir film, it may well be the best.