Friday, February 1, 2019

Robert Altmans The Long Goodbye As A Genre Revisionist Film Essay

"Robert Altmans The massive Goodbye attempts to do a re altogethery interesting thing. It tries to be all genre and no story It makes no serious effort to reproduce the Raymond Chandler detective novel it just takes all the characters out of that novel and lets them stew together in something that feels like a private-eye movie."---ROGER EBERT (REVIEW)The period of American cinema between 1965 and 1975 produced many put downs that almost all in all restructured classical Hollywoods accepted genre conventions. A o.k. example of this would be Robert Altmans iconoclastic take on Raymond Chandlers Philip Marlowe in The Long Goodbye (1973), a detective film based on the last book in Chandlers Philip Marlowe series. Altman, who is known for turning around tralatitious genre conventions, revises and reinvents the film-noir style make popular by Dick Powell in Murder, My Sweet (1944), Humphrey Bogart in The Big Sleep (1946), and Robert Montgomery in maam in the Lake (1947). T he actors and the films in the 1940s film-noir period conformed to genre conventions, and it wasnt until Robert Altman order Elliot Goulds Philip Marlowe in The Long Goodbye that the detective genre had changed.It is very interesting to note how the conventions of 1940s hardboiled private eye fiction empathize into the 1970s. The low-rent drabness of the genre loses much of its allure. The dark shadows and long nights of urban Los Angeles establish the bright lights and warm sunshine of Malibu beaches. The detectives normally nappy dialogue turns into joking asides. Marlowes hardboiled narration becomes the self-conscious mutterings of a al champion(predicate) man talking to himself. The romantic myth of a man confine apart from the city is turned on its head as a pathetic man living alone with his cat.Elliot Gould p worldlys private investigator Philip Marlowe, who exercisings his smart-aleck climb-down carried along by a natural wave of 1970s atomic number 20 that Altman exercises for both humour and social commentary. Rich drunks, drugged out youth, multicultural gangsters in touch with their heritage and their feelings, people more than willing to use their friends, all indicate a self-obsessed society, a force as relevant in the 1970s as the ever-present title song.Originally, Hollywood indorse Altman, the eccentric director of M.A.S.H and Nashville, in the hopes that a gritty detective film would cash-in on the... ...grab glimpses of the characters true nature. In The Long Goodbye, these foreground strokes, intended to lay a foundation for audience sympathy with the lead character, are made as prominent as the climax, as well as the end. This is because Marlowe wanders by the action of the film meeting and reacquainting himself with unrelated characters, such as the gatekeeper-impressionist in Terry Lennoxs neighbourhood, and the grocery store clerk, who Marlowe meets again in prison. The while between The Big Sleep and The Long Goodbye sign ifies a square evolution of American, or at least Hollywood, culture, from the countrys post-WWII optimism to the alarm of Vietnam. The character of Marlowe, it appears, has one foot in each book-end of history.BibliographyKagan, Norman. American skeptic Robert Altmans genre-commentary films. Ann Arbor, Mich., Pieran P. 1982.Karp, Alan. The Films of Robert Altman. Metuchen, N.J., Scarecrow P. 1981.McGilligan, Patrick. Robert Altman bound off the cliff a biography of the great American director. sassy York, St. Martins P. 1989.Wexman,Virginia Wright. Robert Altman a guide to references and resources. Boston, Mass, Hall. P. 1984.

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