PLOT
A private eye is hired by an old man to find out who is trying to blackmail him. But Marlowe’s investigation reveals a complex plot that involves both of his client’s daughters. How can he unravel the sordid affair without compromising the family?
REVIEW
A cult classic based on a novel by Raymond Chandler—one of the fathers of the film noir genre.
I wasn’t sure going in if I had watched this one in the past, and I’m still unclear about it now. The truth is, I’m not sure if I’ll remember it ten years from now.
Don’t get me wrong, I thoroughly enjoyed watching this and there’s little here not to like. I just don’t feel it’s memorable material.
Part of it is probably due to context. Watching a landmark film when it first comes out is one thing; watching it eight decades later, after all the genre tropes it helped establish have become as common as fish in a pond, is quite another. But it’s not just that. The script, though intriguing, is famously convoluted and can be at times hard to follow. Nor is every question answered, which can leave the viewer somewhat frustrated.
That being said, the film is still well worth watching for the chemistry between Humphrey Bogart and Lauren Bacall (that intensifies as the mystery deepens), and for the sharp and witty dialogues. I should clarify that the entire cast does a stellar job here—with special mentions going out to Dorothy Malone and Elisha Cook, Jr. who, despite having short scenes each, manage to steal the show. Martha Vickers is also endearing in her role as a spoiled brat who likes to suck on her thumb and call everyone a ‘cutie.’
But to fully appreciate the significance of this film, one needs to consider the context of its making and its impact on the noir genre and the film industry in general.
Let us start with a couple of basic facts.
“The big sleep” was shot in 1944, while World War II was still going strong in Europe. Filming took longer than expected due to Bogart’s heavy drinking and deteriorating marriage with actress Mayo Methot. Once completed, Warner Bros. decided to delay its release as they felt it would do better after the war, while they had a backlog of war-themed films they felt more appropriate for the time. This proved a wise move, as the film benefited from a post-war audience more receptive to its themes and style. It resonated with the changing cultural and social landscape, contributing to its success and lasting impact.
This was the second film Bogart and Bacall made together. “To have and have not” (also directed by Howard Hawks) was a war-time romance based on a Hemingway novel, shot earlier in 1944. During that shoot, the two actors started an affair that would eventually lead to Bogart’s divorce from Methot and his marriage to Bacall. This, of course, helped fuel the two actors’ on-screen chemistry, adding a layer of sizzling tension to their interactions, filled with sexual tension and clever wordplay.
One of the highlights of the movie is this positive/negative dynamic between them. There is an obvious attraction, while at the same time she keeps pushing him away, asking him to stop his investigation, or trying to pry out of him what he was hired to do. He doesn’t give an inch, of course, running circles around her in his casual and humorous way—much to her frustration and to the viewer’s delight. One illustrative exchange happens when Bacall’s character asks him: “Why did you have to go on?” and he fires back: “Too many people told me to stop.”
According to records, the film deliberately leaves some plot points unresolved or open to interpretation. As Marlowe peels back the layers of the mystery, the audience is drawn into a world where every revelation leads to more questions.
The film’s atmosphere and visual style significantly contributed to the evolution of film noir aesthetics. The use of shadows, low angles, and unconventional framing creates a visual landscape that mirrors the moral ambiguity of the narrative. The night scenes, in particular, are bathed in inky darkness, enhancing the sense of danger and intrigue that are defining elements of the genre. The dark, shadowy portrayal of Los Angeles became a blueprint for the gritty urban landscapes often associated with film noir.
It is worth noting here that Bacall’s character is not your typical femme fatale. She is a strong woman who knows what she wants and, while she is embroiled in sordid affairs, she is not the antagonist and would rather help Marlowe than hinder him—even if she’d like him to stop investigating her family. Still, the banter, sexual tension, and mutual distrust between the two leads became archetypal of noir relationships between males and females, shaping how filmmakers approached the portrayal of complex, morally ambiguous characters.
Another important factor to consider is the Hays Code which was, at the time, in full effect. The Hays Code was “a set of industry guidelines for the self-censorship of content.” In other words, between 1934 and 1968, all the major studios agreed to censor their own productions. Many filmmakers tried to circumvent this through the use of subtle subtext and suggestive elements to convey certain themes, particularly those related to sexuality and crime. This skillful negotiation with censorship added a layer of sophistication to the storytelling, as directors found creative ways to convey meaning without overtly violating the Code. And we see this here, when the plot suggests that Carmen (the Vickers character) made nude pictures. All the sexual innuendo is another typical example.
Upon its release, “The big sleep” received positive reviews for its atmospheric direction, strong performances, and intriguing story. Despite some initial confusion about certain plot points, the film was a commercial success and is often mentioned as a defining point in noir history, characterized by its shadowy visuals, morally ambiguous characters, and complex narrative. While it did not receive any Academy Award nominations, it has gained retrospective acclaim and is often regarded as a classic example of the genre. Over time, the film has become a staple in discussions of influential and iconic Hollywood productions. Many filmmakers cite it as a source of inspiration—including Quentin Tarantino, the Coen Brothers, Christopher Nolan, and Akira Kurosawa.
“The big sleep” demonstrated that noir wasn’t just about solving crimes but exploring the murkier aspects of human nature, where right and wrong often blur into shades of gray.
As Marlowe lights his cigarette in the closing scene, the smoke-filled rooms and shadowy landscapes linger, leaving the audience with a sense of mystery and the enduring allure of classic noir cinema.
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Have you watched this film? What did you think of it?
What is your favorite film noir?
Let us know in the comments!
TRIVIA NOTES
The character of Philip Marlowe is one of the most iconic in detective fiction. Raymond Chandler’s creation was inspired by the author’s dissatisfaction with existing detective characters and a desire to create a more complex and morally ambiguous protagonist.
The film was remade in 1978. Directed by Michael Winner (of “Death wish” fame), it starred Robert Mitchum as Philip Marlowe and Sarah Miles as Charlotte (the renamed Vivian character).
To capitalize on the chemistry between Humphrey Bogart and Lauren Bacall, additional scenes were shot and incorporated into the film after the initial production.
The film takes liberties with Raymond Chandler’s novel, condensing and altering certain elements for cinematic adaptation. Some characters and plot points were changed, and the film’s narrative complexity led to intentional ambiguities that differed from the novel. The author was critical of these changes and of the film’s emphasis on style over substance.
Humphrey Bogart, who stars as the iconic private detective Philip Marlowe, first came to prominence in another famous film noir, playing Sam Spade in “The Maltese Falcon” (John Huston’s 1941 directorial debut). He brought to his acting a blend of toughness and vulnerability that, along with his heavy smoking, captured the essence of the hard-boiled detective. His sharp wit, world-weary demeanor, trench coat, fedora, and unyielding moral code have become iconic elements of the noir archetype. This characterization set a template for future cinematic private investigators, influencing how detectives were portrayed in both noir and detective genres.
After studying acting with Kirk Douglas, Lauren Bacall made her stage debut on Broadway in 1942. She also worked as a fashion model before winning her first audition. Her film debut was in “To have and have not,” where she played opposite Bogart. The couple would go on to make two more films together: “Dark passage” in 1947 and John Huston’s “Key Largo” in 1948. After Bogart passed away, she married actor Jason Robards (1961-69).
Though Dorothy Malone had only been acting for a year when this was shot, she had twelve films to her credit by the time it was released. Some highlights of her career include “Two guys from Texas” (her first lead in 1948), “One Sunday afternoon,” “Five guns West” (Roger Corman’s directorial debut), “Artists and models,” and “Written on the wind” (for which she won an Academy Award). Television appearances include episodes of Route 66, Cimarron City, Death Valley days, and The untouchables. She also had the lead role in Peyton Place. Her final role was as a murderer in “Basic instinct.”
Director Howard Hawks was known for his versatility across genres, and “The big sleep” showcased his ability to tackle film noir with the same skill he brought to comedies (“His girl Friday”), westerns (“Rio Bravo”), and historical epics (“Land of the Pharaohs”). He was one of the first major directors to cast women in strong roles, leading to them being nicknamed “Hawksian women.”
Cinematographer Sidney Hickox played a crucial role in creating the film’s distinctive noir visuals. His use of low angles and shadows contributed to the atmospheric and moody aesthetic characteristic of the film noir genre. Some of his other credits include “San Quentin,” “The return of Doctor X,” “The man who talked too much,” “Gentleman Jim,” “Dark passage,” “One Sunday afternoon,” “White heat,” and “Distant drums.” In television, he worked on I love Lucy and The Andy Griffith Show.
Leigh Brackett is best known as a Science-Fiction novelist. Nicknamed the “queen of space opera,” she also wrote several screenplays—among which five more for Howard Hawks (including “Rio Bravo,” and “Rio Lobo”) and Robert Altman’s “The long goodbye.” Most famously, she co-wrote the script for “The Empire strikes back” with George Lucas and Lawrence Kasdan.
Often referred to as “the father of film music,” Max Steiner was one of the first to specifically compose music for the medium. Very prolific, his career spans five decades and hundreds of films, including huge classics such as “Gone with the wind,” “Casablanca,” John Huston’s “Key Largo” and “The treasure of the Sierra Madre,” “The Caine mutiny,” and John Ford’s “The searchers.”
Editor Christian Nyby gained fame as a director when he shot “The thing from another world” in 1951. He went on to become a prolific television director, shooting episodes of Gunsmoke and Wagon train, among many others. His son, Christian I. Nyby II, also became a television director.
CREDITS
Directed by Howard Hawks.
Screenplay by William Faulkner, Leigh Brackett & Jules Furthman, from the novel by Raymond Chandler.
Produced by Howard Hawks.
Music by Max Steiner.
Cinematography by Sid Hickox.
Edited by Christian Nyby.
Starring Humphrey Bogart as Philip Marlowe, Lauren Bacall as Vivian Sternwood Rutledge, John Ridgely as Eddie Mars, Martha Vickers as Carmen Sternwood, Dorothy Malone as Acme Bookstore owner, Peggy Knudsen as Mona Mars, Regis Toomey as Chief Inspector Bernie Ohls, Charles Waldron as Gen. Sternwood, Charles D. Brown as Norris the butler, Bob Steele as Lash Canino, Elisha Cook, Jr. as Harry Jones, Louis Jean Heydt as Joe Brody, Sonia Darrin as Agnes Lowzier, Tommy Rafferty as Karol Lundgren, Theodore von Eltz as A.G. Geiger, Ben Welden as Pete, Tom Fadden as Sidney, Trevor Bardette as Art Huck.
Produced by Howard Hawks Productions.
Distributed by Warner Bros.-First National.
Released on August 31, 1946.
Running time: 114 minutes.
Genre: Film noir.
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Text (c) 2023 by Alex S. Garcia.
Header image: screenshot of the film’s title card.
Film poster from IMP Awards.
I first watched the movie as a teenager...my dad was a huge Humphrey Bogart fan as well as a classic detective fan, so I got to see both The Big Sleep and The Maltese Falcon at influential times in my life. The movies and books definitely influenced some of my own writing!
This is one of my favorite films as well as one the my favorite books.