Howard Hawks’s The Big Sleep (1946) is a serrated Maltese Falcon.  It is a tad uglier and more violent than Falcon.  Rainfall is not uncommon, and the tough-as-nails banter won’t quit.  Further, comely but brittle or semi-brittle dames are everywhere—and out of your league.  But not out of Philip Marlowe’s:  He gets all the breaks, except when two thugs work him over but good.  (Hey, whoever sent the thugs will never live it down.)  There is even a certain aggressiveness in the plot’s being so convoluted.

Chalk that one up to Raymond Chandler, who wrote the book.  William Faulkner, Leigh Brackett (female) and Jules Furthman wrote the shining screenplay, and this may well be the best Humphrey Bogart-Lauren Bacall vehicle.

The Big Sleep (1946 film) (Photo credit: Wikipedia)

The Marion Davies of the film, The Cat’s Meow (2002), mentions that her mother has advised her to marry not for romance but for “sympathy and friendship.” But actress Marion never ties the knot with anyone in Peter Bogdanovich‘s movie, being the mistress of newspaper mogul William Randolph Hearst as she is. No initiated marriage takes place in The Cat’s Meow; only decadence does. Set in 1924, the tale concerns a yacht party and a shooting scandal (the victim: film producer Tom Ince).

Written by Steve Peros, based on his play, the opus mixes the nostalgia of Bogdanovich’s earlier homage films with some of the seriousness of his The Last Picture Show. Mr. B directed astutely, and there are nice costumes and much effective acting. Kirsten Dunst does not quite portray a grown-up character, as she should: her Marion is still a child. Edward Herrmann as Hearst, however, is impeccable, while Jennifer Tilly is spunky and enjoyable as a gossip columnist. Perfectly grown-up—and interesting—is Claudia Harrison (as Tom Ince’s lover) and Cary Elwes is persuasive (as Ince himself). A minor but fairly rich product, this. It’s no Last Picture Show but it is still a watchable picture show.

The Marion Davies of the film, The Cat’s Meow (2002), mentions that her mother has advised her to marry not for romance but for “sympathy and friendship.” But actress Marion never ties the knot with anyone in Peter Bogdanovich‘s movie, being the mistress of newspaper mogul William Randolph Hearst as she is. No initiated marriage takes place in The Cat’s Meow; only decadence does. Set in 1924, the tale concerns a yacht party and a shooting scandal (the victim: film producer Tom Ince).

Written by Steve Peros, based on his play, the opus mixes the nostalgia of Bogdanovich’s earlier homage films with some of the seriousness of his The Last Picture Show. Mr. B directed astutely, and there are nice costumes and much effective acting. Kirsten Dunst does not quite portray a grown-up character, as she should: her Marion is still a child. Edward Herrmann as Hearst, however, is impeccable, while Jennifer Tilly is spunky and enjoyable as a gossip columnist. Perfectly grown-up—and interesting—is Claudia Harrison (as Tom Ince’s lover) and Cary Elwes is persuasive (as Ince himself). A minor but fairly rich product, this. It’s no Last Picture Show but it is still a watchable picture show.

I have always found Bernard Malamud‘s novel The Assistant, which I’ve read twice, very impressive; and no less so are many of his short stories. The 66-year-old physician, Simon Morris, in “In Retirement” is thinking he ought not to have retired two years ago. He is an “old” widower who experiences moments of anguish. But when he learns that a young woman in his apartment building is inclined to sleep around, he is unsurprisingly induced to send her a polite note requesting a date. This is a mistake.

The story is about existential loneliness and discontent in the elderly years. “There’s no setting aside old age,” Morris says. “. . . Or death.” As usual, Malamud is matter-of-fact. He does a good job of presenting the Jewish sensibility but is even better at exploring sensibilities in general.

Reviews by Dean

Cover of Five Easy Pieces

The 1971 Bob Rafelson picture, Five Easy Pieces, is highly imperfect but hardly without meaning.

It serves up the dissatisfied man as antihero (played by Jack Nicholson).  It tells us life is insufficient and shows us how one senses he or she is wasting time after hopes are unfulfilled, promises unkept.  Nicholson’s Bobby Dupea, that is, discontinued his career as a concert pianist because he found his playing inadequate.  Now, for much of the film’s running time, he works with oil rigs.

The concepts here are very engaging.  Rafelson’s film should be seen.