An updating of Raymond Chandler's 1949 novel, The Little Sister, Marlowe is a sophisticated mystery thriller, with quick, humorous dialogue, and slick direction by Paul Bogart. Perhaps unjustly, the film is less appreciated than several of the other adaptations of Chandler's novels featuring private detective, Philip Marlowe, who had been played before this film by the likes of Humphrey Bogart (The Big Sleep) and Dick Powell (Murder My Sweet), and later on by Elliott Gould and Robert Mitchum. Some the criticism leveled against this film is that James Garner is too laid-back as Marlowe, as compared to the hard-edged portrayal of Humphrey Bogart or Dick Powell (even though Garner's Marlowe actually resembles more the actual character from Chandler's novels). In fact, as others have pointed out, Garner brings his own personable characterization of the private detective, obviously very different than Bogart's, but one that brings out the best of his sardonic humour and easy-going charm. Effortlessly lashing out witty replies at every turn as if he invented them, Garner gives the type of performance that would later earn him an Emmy in TV's The Rockford Files (for which this film was likely an important source of inspiration).
He gets first-rate support from a string of character actors portraying various low-lifes, showbiz types, criminals, and cynical cops. Much has already been said about Rita Moreno's delicious turn as a glamorous striptease artist and Bruce Lee's hilarious Kung fu scenes. However, equally good are Sharon Farrell as the little sister, exquisitely displaying a manipulative, girlish charm that quickly becomes annoying, and Carroll O'Connor as a hard-boiled, frustrated police lieutenant who gets increasingly exasperated at Marlowe.
The plot moves quickly through the convoluted intrigue, set against the backdrop of Los Angeles in the late 1960s, with the cool, jazzy musical score and groovy theme song contributing to render the atmosphere of the period.
That said, Marlowe is hardly a perfect film. For one thing, it makes little use of cinematic elements that could have contributed to the aesthetics of the film, such as dark lighting and wider angle shooting. It all seems a bit too bright for a mystery and rather closed in considering the LA location. This may be intentional and reflective of director Paul Bogart's style as a television director, but it somewhat limits the possibilities to convey mood and suspense. Secondly, the female character at the centre of the investigation, played by Gayle Hunnicutt, is not provided with enough screen time to make the viewer seriously interested about her fate. While Hunnicutt is billed as the female star of the film, she really has more of a supporting role, and her interactions with Garner lack any kind of romantic subplot that may have helped the viewer care more about the outcome of this complicated story. Still, the witty dialogue, intelligent plot, and colorful characterizations manage to make Marlowe a fine and enjoyable yarn. Those expecting a kind of neo-noir will be disappointed, but the film largely succeeds to deliver on its own terms.
Review of Marlowe
