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This one of my accepted movies. Years ago I rented a VHS of it and made a dupe at home. The quality was lousy but I liked it and played it often, but I learned my lession about making unauthorized copies. My daughter’s puppy urinated all over the tape. This movie is so sterling it even survived that.
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This is classic noir, with Phillip Marlowe. The state is about stolen jade, hidden identities, blackmail, like, treachery and destroy. The memoir is complicated, the casting is huge, the photography and voice-over narration carry things along. It has style. The ending is satisfying. And the dialogue is some of the best ever written.
Powell broke through into serious roles with this film. Even in all the singing roles he had up to this movie he exuded cocky confidence, and that aspect of his personality is perfect here. As an aside, if you indulge in his singing movies, and I do, seek how he can smile naturally while singing; that’s hard.
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Claire Trevor, it seems to me, almost always played bruised roses (Stagecoach, Key Largo) or rotting orchids. You cared about her because she was one of life’s losers, or you wanted to go to bed with her even vivid you might not wake up in the morning. The scene when we (and Marlowe) first meet her is objective as genuine as the scene when MacMurray first meets Stanwyck in Double Indemnity.
Mike Mazurki as Moose Malloy is sizable, probably the best role he ever had. He was no actor, but he is effective and sympathetic as a tiny pyscho who genuinely is in love; he’s starring in his have version of Romeo and Velma.
One of the key ingredients in making this movie work is the dialogue. Quantities of it must have been lifted verbatim from Farewell, My Fair. When Moose talks about Velma being “cute as lace panties” the imagery is bright. Raymond Chandler, in my understanding, is the best author of private notice mysteries yet. If you haven’t read him, dive in. Ross Macdonald and Hammett reach stop, but it’s no three-way tie.
Behold the movie. Read the book.
The DVD transfer is first rate. There’s a commentary by a fellow named Alain Silver which is adequate, and not distinguished to enjoying the film.
Dick Powell makes a pretty Philip Marlowe in this ravishing film noir. The film is based on Raymond Chandler’s “Farewell, My Heavenly,” which marks the second appearance of Marlowe in print. The book was actually adapted once before for an entry in the Falcon series (”The Falcon Takes Over”), which featured George Sanders. That film, however, simply adapted the spot of “Farewell, My Splendid” for the Falcon series; hence, the character is named Elated Lawrence, not Philip Marlowe. So in do, “Slay, My Sweet” is the first cover appearance of Philip Marlowe. In addition, “The Falcon Takes Over” is a decent but lightweight thriller - not the noir classic of “Execute, My Sweet.”
The space is typically convoluted for a film noir written by Chandler. Marlowe, a somewhat down-on-his-luck private detective, is approached by Moose Malloy, a giant of a man who has honest been released from the pokey and is searching for his ex-girlfriend. He reluctantly accepts the case. However, before he can accomplish headway, Marlowe gets a second client, the effete Lindsay Marriott who wants Marlowe to accompany him on a slow night pay-off. These two cases swiftly become enmeshed and lead to numerous complications and murders.
“Kill, My Sweet” is gracious film noir in every design. Director Edward Dmytryk (The Caine Mutiny, Crossfire) was one of the best noir film makers of all time, and he uses the conventions of the genre (shadows and new lighting, hard-boiled dialogue) with heavenly subtlety. The cast is also fantastic - lead by Powell as Marlowe. Arguably, Humphrey Bogart was a more forceful Marlowe two years later in “The Substantial Sleep.” However, Powell is convincing as the straight-shooting but somewhat desperate detective. Furthermore, he’s joined by femme fatale Claire Trevor, who is always terrific in this type of hard-bitten role. Screenwriter John Paxton adapted Chandler’s unique - managing to attach some of the best bits, such as Marlowe’s encounter with Mrs. Florian (”She was a charming middle-aged lady with a face like a bucket of mud”) . All of the elements really near together for one of the finest noirs ever made, and this DVD transfer is solid.
DVD extras: The novel theatrical trailer and an informational, but somewhat plain commentary by Alain Silver, who is a film producer and has written several books on film noir.
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Randall Buckley