Our Director Series on Robert Altman is partially responsible for a look at The Big Sleep, as the overlapping rapid-fire back-and-forth dialogue characteristic of Altman’s films was first characteristic of the films of Howard Hawks. Toss in the fact that the source material is by Raymond Chandler and the fact that William Faulkner himself helped write the screenplay, and The Big Sleep is still one of the finest American film scripts ever committed to celluloid.
Private eye Philip Marlowe has appeared in a few films – notably portrayed by Elliott Gould in 1973’s The Long Goodbye (also Altman) and then by Robert Mitchum in both 1975 and 1978 – but Humphrey Bogart’s time in the role is the most valuable. He’s Marlowe in the way that Sean Connery is Bond: it’s not the only portrayal of the character…but yeah, it’s the only portrayal of the character. Marlowe’s investigation into a whole host of strange occurrences rolled out one after another, starting with the disappearance of one Sean Regan, provides the drive for the film. But one solution inevitably leads to two more problems in The Big Sleep, and there’s little hope of piecing everything together into a neat little answer to “so what actually happened?”
Continue reading The Big Sleep (1946)
Sydney Pollack’s The Yakuza was released at a time when depictions of Asia in Hollywood films were either simple vehicles for big stars or grossly Westernized misrepresentations. There are notable exceptions, of course, and The Yakuza is probably one of them. Starring Robert Mitchum as a retired detective returning to Japan for a new case, the film manages to give real playing time to actors who aren’t straight from Hollywood. Chief among these is Ken Takakura, who shines as the conflicted brother of a former love interest of Mitchum’s character.
As was the case with several of his films, Sydney Pollack wasn’t the first director to be attached to The Yakuza. Robert Aldrich, best known for The Dirty Dozen and the brilliant Flight of the Phoenix, was initially slated to reteam with Mitchum after their collaboration on The Angry Hills back in 1959. Aldrich, a fine director, would have done fine with The Yakuza, but it just seems more interesting as a part of the early Pollack filmography. Following Jeremiah Johnson and The Way We Were and preceding Three Days of the Condor, the Tokyo- and Kyoto-set noir provides a nice break from the Redford-starrers.
Continue reading The Yakuza (1974)