Hey friends!
This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 300! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.
So, I finally got around to watching The Long Goodbye, that 1973 Robert Altman film based on a Raymond Chandler novel, which has been on my list for ages. This wasn’t my first rodeo with Philip Marlowe, but this take on the iconic detective was something else entirely. Seriously, this might be one of the most out-there takes on a Marlowe story you could ever imagine. I mean, forget Humphrey Bogart’s Marlowe—the one who could out-stare a brick wall—‘cause Elliott Gould’s Marlowe feels more like the guy who’d challenge that brick wall to a friendly poker game and expect it not to cheat.
First off, let me tell you, we’re not in the gritty 1940s anymore, Toto. This is a hard-boiled detective story that somehow got drenched in all that 70s LA sunshine, then wrapped itself up in one of those ultra-chill, laid-back attitudes. And did I say ultra-chill? Our boy Marlowe, played by Gould, seems permanently encased in this cloud of unapologetic “whatever, man” energy. Seriously, I half-expected him to start wearing tie-dye or throw up a peace sign between lines.
The plot itself is a winding labyrinth of double-crosses and hidden motives. So, plot-wise: Marlowe’s just trying to buy some cat food at 3 AM—classic detective move, am I right?—when his buddy Terry Lennox (played by Jim Bouton, who was an actual baseball pitcher—yeah, a random fact for you, because sports and film crossover is a thing, apparently) drops by needing a fast exit to Mexico. Marlowe helps him out, of course, ‘cause bro-code and all. But wouldn’t you know it, Lennox gets pegged for his wife’s murder soon after, and things start to get delightfully messy. Marlowe finds himself caught in a web of intrigue that stretches from the sun-drenched beaches of Malibu to the shadowy underworld of Los Angeles.
Now, if you’ve read the Chandler novel, you’ll know Marlowe as that hard-nosed guy who plays by his own rulebook in a world that’s just plain dirty. But here, in Altman’s universe, Gould’s Marlowe doesn’t feel like he’s playing by anyone’s rules—or, honestly, like he’s playing at all! He just sort of drifts through the movie in that crumpled suit, mumbling to himself and chain-smoking like cigarettes are his life source. It’s almost like he’s monk-level committed to chaos while being, bizarrely, the most level-headed guy in the room. Logic? Not here. Vibes? Plenty of those.
And the cast? Oh boy, let’s talk about Sterling Hayden, who plays Roger Wade, the raging Hemingway-ish writer character. Hayden’s gruff, boozy energy is like this wild bear—you never know if he’s going to tell you a life-changing secret or just tear the place apart. And then there’s Nina Van Pallandt as Eileen Wade, the femme fatale dripping with mystery and making you think, “Oh, she definitely knows more than she’s saying.” But, like, in that soft-spoken, “please ignore the iceberg below the waterline” style.
And shoutout to Henry Gibson as Dr. Verringer—this short, little dude with a disarmingly calm and creepy air that just sidles right up to you, gripping onto the tension while everyone else is trying to keep their grip on the reality that, I’m 95% sure, unraveled before this movie even started. That’s another thing, the whole film feels like you wandered into a party already in full swing. You’re not quite sure what everyone’s vibe is, but ya stick around, grab a drink, and soon realize you’re in deeper than you bargained for.
Altman’s direction is masterful, creating a hazy, dreamlike atmosphere that perfectly complements the film’s noir sensibilities. The cinematography is stunning, with long, lingering shots that capture the beauty and the grime of 1970s Los Angeles.
What struck me most about “The Long Goodbye” was its unconventional approach to the mystery genre. It’s less about solving a puzzle and more about navigating a morally ambiguous world where everyone seems to be hiding something. The film’s pacing is deliberately slow, allowing us to soak in the atmosphere and get to know the quirky characters who populate Marlowe’s world.
By the time you get to the end, you’ll be soaked, confused, and just a little in awe of how much this movie, miraculously, doesn’t care if you understood it or not. It’s a detective flick that swindles you with its oddball humor, then slaps you in the face with its unexpected darkness, almost as if it was daring you to take the genre seriously in the first place.
I’ll admit that the ending is a real head-scratcher, leaving you with more questions than answers. But that’s part of the film’s charm. It doesn’t tie everything up in a neat little bow, instead inviting you to ponder the complexities of the characters and their motivations long after the credits roll.
“The Long Goodbye” might not be everyone’s cup of tea. It’s slow-paced, unconventional, and leaves a lot open to interpretation. But if you’re in the mood for a thought-provoking mystery that challenges the genre’s conventions, this film is definitely worth checking out. It’s sure to leave a lasting impression.
Would I recommend it? Oh, absolutely. It’s a cinematic trip where the destination may not matter as much as the weird, twisty road. Come for the existential dread, stay for the half-naked yoga instructors that live in the apartment next to Marlowe. Trust me, this one’s worth the watch, if only to say you’ve seen Gould’s effortless cool in action. And if Altman teaches us anything with this, it’s maybe that “goodbye” doesn’t always mean the end—it’s just the start of something much weirder.
Cheers!
Roger
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