There are many agreeable old cars, quaint Chelsea aspects and snaps of the Thames. If you want to stargaze, watch this film, if you want to see some classic performances don't miss the Bogart one. He also discovers Camilla at the scene of Geiger's murder, where she has posed for nude photographs, and takes her home safely to a grateful Charlotte. Despite the age of the film source, the transfer is quite pleasant looking, although it does look a bit soft and grainy. Bogart and the horn-rimmed glasses in the book shop.
Other benefits include relatively handsome production values and a good cast: Robert Mitchum in his 2nd performance as detective Philip Marlowe , James Stewart, Sarah Miles who unfortunately sports a very unflattering Donna Summer-style hairdo but hey it was the late '70s , Richard Boone, Joan Collins, Oliver Reed, John Mills and Richard Todd. Relax your expectations and enjoy it for what is - fine entertainment. I really love the original. Although Winner secured a notable cast, with the exception of reliable legends Mitchum and Stewart who nonetheless appears distressingly ill , everyone seems on a mission to outdo each other in the eccentricity stakes. He is, of course, older than Bogart was when he played the role, and his portrayal of the character is perhaps less cynical and more thoughtful, but it is a perfectly acceptable interpretation. At 1:28 it gets scarier with a stirring string section and a wild percussion section which is quite interesting.
Summary The Big Sleep is a 1978 remake that is far closer to the original Raymond Chandler novel, except it is set in London in the 1970s instead of Los Angeles in the 1940s. Michael Winner is one of the most talentless film directors to grease not grace the silver screen in the last forty years and, except for Death Wish, he has never done much good with a camera. Some of the stars in the cast play it rather indifferently, while others are given preposterously little screen time to do anything with their parts. The special stuff that is added in the kitchen to Winner's sauces and soups could otherwise have been deposited at the local branch of the Sperm Bank. Wanting to know for himself as well as his client, General Sternwood, if Rusty is either alive or dead Marlow begins to realizes that only Carmilla can provide that answer. With the exception of Joan Collins who could do sultry but sinister glamour in spades, even in her mid-forties , none of the female characters has the required touch of the femme fatale about her.
Maybe they thought that such lines wouldn't sound right coming out of James Stewart -- they were probably right -- but that just shows what an inept choice he was for this part. At first glance, it's easy to shriek in horror at the idea of Michael Winner trying his hand at a Philip Marlowe film. But after watching this, and Death Wish, I have a new-found respect for eating in style. I have been listening to a few of his scores and I find it hard to connect with them. Last but not least, the direction, the cinematography and the adaptation range from passable to dismal — with a strong prevalence of the latter. How could we go wrong? Winner either didn't know that or didn't care.
Bogart may look and talk more like Marlowe, but Mitchum has his soul. But it's the wrong style. There are no shadows in this senselessly gaudy remake; there isn't much nighttime, either, and there isn't any rain. All three phone it in on the rotary-dial phones of that era. The case could very well cost Marlowe his life. Hawks's version or read Mr. This display device is 16x9 capable.
The main menu is 16x9 enhanced and includes background audio. Do superannuated movie legends have no self-respect? Winner directs adequately, but rather overdoes the flashy camera angles and zoom-ins. Marlow tries to track down Geiger and finds him in his house, with a naked and goofy Carmilla, shot dead between the eyes. In support are Edward Fox, Harry Andrews, James Donald, Colin Blakely, James Stewart, and Richard Todd. A bit frantic, very much on edge and had a bit of randomness to it that I like. The amount of detail is acceptable, and enough to allow me to read the handwriting at 43:31- 43:33 and the newspaper at 49:16- 49:24. As a literary adaptation, this version, however, is much better.
Good to see so much talent in this feature, though they're phoning in their performances at times, with the exception of the ever-enjoyable Reed, delivering his clipped lines like a baleful pressure cooker. Not many, admittedly, but enough to deserve a viewing at any rate. Rating this film is a tough go. Mitchum's world-weariness and his unflappable calm simply don't, on their own, add up to the suspicious, swaggering style that the character and the overall movie require. Boone is as gleefully evil and limping as Olivier's King Richard.
One thing I'm sure the audience must have felt is how the American expatriate general played by James Stewart could have one English accented daughter in Sarah Miles and an American accented one in Candy Clark? Michael Winner may not be a great director; but his films generally turn out to be entertaining in spite of not being brilliant, and with a story as strong as this one; I felt confident that The Big Sleep would be a good film. And all of them are up to the task, true professionals, with not a hollow note struck. It's spiced up with some tastefully done nudity, but it's never ever very violent. He reprised the role yet again in 1987 for a spoof segment on Saturday Night Live. Hawks also allowed some humor in the dialog. Marlowe's office is too modern, whereas his apartment is too fusty and British.