But now we come to the case of “The Big Sleep” (1978), with Robert Mitchum stepping into Bogie's shoes. The movie isn’t a classic, but it does make sense. Does it ever. We get Mitchum’s voice explaining things on the sound track, and we get flashbacks to remind us of key scenes, and when characters confess to a crime we get scenes picturing them. And yet, when the movie’s over, we’re still mystified. Chandler’s plot is so complicated that maybe Hawks was right in 1946 when he ignored the loopholes.

Disgaea ds classes list. What really matters in a movie like this isn’t plot, anyway, it’s style: How the characters talk to each other, and wear their clothes, and smoke cigarettes and hold guns. The style in the new “Big Sleep” is confined mostly to three actors: Mitchum, Candy Clark and Richard Boone. The movie is a disappointment otherwise.

May 06, 2012  Bear In The Big Blue House - Full Episode The Big Sleep. Aug 23, 1946  云里雾里 《夜长梦多》 The Big Sleep 年代：1946年 / 国家：美国 / 导演：霍华德霍克斯 / 主演：亨弗莱鲍嘉、劳伦巴考尔 《夜长梦多》能够在黑色电影，乃至影史上留下浓墨重彩的一笔，很大程度上是它匪夷所思的剧情所决定的。.

It was directed by Michael Winner, who can hold our attention when he wants to (as in “Death Wish”). But here, despite all the great costumes and sets and London locations they’re given to work with, the actors don’t seem engaged.

Oh, yes: London. “The Big Sleep” has been moved from the seedy Los Angeles of circa 1940 to the London of today, and that’s a mistake. Maybe people never really talked the way they do in a Chandler novel; I’m sure they don’t today. Maybe the movie was intended as camp, but it comes off simply as an anachronism.

The plot has Marlowe being hired by a rich, tired old military man (James Stewart) to handle a blackmail attempt, track down some pornographic photos of his daughter, find his missing son-in-law, and, not least, provide him peace of mind in his dying days. Marlowe plods down the mean streets of London as the plot grows more and more labyrinthine, and we plod with him.

A man is shot but no blood is seen. A body of a man who was shot is found. His wounds are not seen. Later there is a dark stain where his body had been lying.

A man is forced at gunpoint to drink poison. He falls over dead shortly after. A man is forced at gunpoint to leave a house, knowing that armed men will shoot the first person to open the door. Machine-gun shots pierce the door after he leaves and his dead body falls back into the house. Marlowe is beaten by hired thugs to warn him off a case. Marlowe punches a man who tries to steal a woman's purse at gunpoint.

Parents need to know that The Big Sleep is a film noir gem directed by Howard Hawks that was released in 1946. It features a great star of the day,. He was paired with relative newcomer in an effort to reprise the sizzling chemistry that had made their previous collaboration, To Have and Have Not, a hit in 1944. As in that film, sexuality is an all-pervasive undercurrent, although only clothed kissing is on display.

(The actors were married to each other by the time the movie was released.) Kids may find this movie's black-and-white world alien, a place where men wear suits and fedoras, women are called 'Sugar' and 'Honey,' and adults smoke cigarettes constantly, but an incorruptible character bent on solving mysteries may still hold interest. Adults drink alcohol. One character seems to use drugs, but the exact substance remains unnamed. Several characters are killed on screen, one by poison and others by gunshot, but no gore is visible. In THE BIG SLEEP, plays quintessential hard-boiled private eye Philip Marlowe, a character from 's novel of the same name. A wealthy elderly father of two beautiful daughters hires him to root out a blackmailer holding something over the youngest. A former employee has also mysteriously disappeared, and who can tell if that has anything to do with anything?

The older daughter, the divorced Mrs. Rutledge ( ), is flirtatious, insolent, and provocative as she does her best to trick Marlowe into disclosing what her father wants, which arouses his romantic interest as well as his curiosity about her involvement in a number of shady plot twists. In Marlowe's quest to dispatch the blackmailer, he runs into the drug-addled sister Carmen at a murder scene and removes her discreetly. Several more bodies pile up, mostly by gunshot, but one unlucky thug is forced to drink poison, after which he falls over quietly.

The plot goes on and on, adding complication upon complication, but the truth is no one will care because, apart from the fun of seeing Bogart pretend to be a detective, the focus here is watching Bogart and Bacall flirt and pair up. Famously, neither the director and screenwriters nor Chandler himself were ever able to figure out who or what killed the chauffeur.

Anyone struggling to make complete sense of The Big Sleep should keep that in mind. This film is a marvel of convoluted, unexplained plot threads that miraculously add up to one of the great pleasures of cinema. Usually categorized under the film noir umbrella for its shadowy photography and emphasis on the menace of the underworld, The Big Sleep mixes its cynicism with enough dry humor to almost lend it a sense of optimism. The bad guys go down and the detective gets the girl, even if it's not entirely clear whether she's trustworthy. The real treat is Bogart, who seems game to play tough but also self-deprecating.

When he enters the mansion of the millionaire about to hire him, the beautiful young daughter of the house cuts him down: 'You're not very tall, are you?' He is amused: 'Well, I try to be.' Tall or not, she thinks he's 'cute' and seconds later literally falls into his arms. As he later tells it, 'she tried to sit in my lap while I was standing up.' The movie is a great example of the importance of emphasis and editing.

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An unreleased version was finished in 1945 but Bacall's agent urged the studio to add scenes in which Bacall could display the insolence and sexuality that won her critical acclaim in her first film, To Have and Have Not. To make room for the new footage, nearly ten minutes of plot explanation was removed, resulting in a far less comprehensible and far more enjoyable film.