Just some thoughts on current happenings:

There are 16 recommended films to watch on Turner Classic Movies in the U.S. this month:

Those who missed TCM's showing of Bonnie and Clyde last month will have another chance to see this watershed gangster saga, re-imagined as the mythical romantic exploits of an impossibly gorgeous but infamous couple in crime. A prior review here includes last month's special contribution from Bob DiMucci who informatively reports on some of the critical responses at the time of the film’s release. Following that, are my personal recollections at the age of 12 upon seeing this radically-new expeditious approach to American cinematic storytelling. The Barrow Gang will strike on TCM Saturday, November 4 at 5 pm PST.

Faye Dunaway, Warren Beatty, Michael J. Pollard

“What did it matter where you lay once you were dead? In a dirty sump or in a marble tower on top of a high hill? You were dead, you were sleeping the big sleep, you were not bothered by things like that …”

Thus, the title of Raymond Chandler’s first Philip Marlowe private detective novel is explained in his book although absent in the two subsequent film translations (both of which were released in the 1940s) of The Big Sleep.

There was a pre-release version made during WWII that was shown to some U.S. servicemen but subsequently shelved because its studio, Warner Bros., wanted to rush a few of their war-themed movies into theatres while the subject was still topical. One of these war pictures, Confidential Agent (1945), was criticised for Lauren Bacall’s unconvincing performance. Fearing further critical backlash regarding Bacall in The Big Sleep her agent Charles Feldman, along with producer Jack L. Warner, decided that re-shoots were necessary ones that would capitalise on star Humphrey Bogart and Bacall’s previous film, and real-life, romantic chemistry and who sizzled in their first on-screen pairing together To Have and Have Not (1944). These lively scenes of sexual innuendo in The Big Sleep's theatrical version (contributed by an uncredited Julius Epstein of Casablanca fame) added caviar to the oyster creating the ultimate cinematic aphrodisiac. The pair's enhanced romantic involvement (not present in Chandler's novel) also strengthened Marlowe's resolve to protect Bacall's character. The widely-released version even dropped some scenes to tighten the pace, one in particular that allowed a basic plot summarisation helpful to those viewers diligently trying to follow The Big Sleep’s oblique series of occurrences up to that point. Another change concerned actress Pat Clark (Mona Mars) from the pre-release version being replaced by Peggy Knudsen in the theatrical release due to Clark’s unavailability during re-shoots.

Understanding the “why” behind all of The Big Sleep’s chain of events is practically impossible (mostly regarding character motivation and subplot development as opposed to simply “who killed whom”) due to its countless participants, a few of whom are never seen, and unwitnessed activities during our private detective’s investigation. Another factor contributing to the narrative’s foggy presentation is that the book was compiled by its author (Chandler himself called this “cannibalisation”) from four, but primarily two, different short stories of his (the latter being "Killer in the Rain" and "The Curtain"), a mishmash evident in this cinematic treatment. * Even further opacity was added by the filmmakers having to adhere to the Production Code in addition to cutting some scenes between Carmen Sternwood and Marlowe in favour of spotlighting the aforementioned romance between the P.I. and her sister Vivian. Marlowe (Humphrey Bogart adeptly personifying himself) is our guide through this labyrinth of blackmail, gambling debts, love triangles, organised crime, drugs, pornography, revenge and murder. If one cannot figure it all out, don’t worry, neither could the filmmakers nor reportedly even Raymond Chandler!

Humphrey Bogart, Lauren Bacall, Louis Jean Heydt

Compensating for this confusing pile up of plot exposition is The Big Sleep’s one-of-a-kind, immensely satisfying character interactions. Scriptwriters William Faulkner, Leigh Brackett and Jules Furthman adapting Chandler’s novel, have creatively gone all out to make each and every battle of wits and bravado encounters of the most engrossing kind. No less captivating and unique are those congenial meeting of the minds composed for maximum delight with their infinitely quotable repartee. Viewers are certain to remember these scrumptious exchanges as long as they don’t get too distracted by the intrigue and can brush off the formidable uncertainty (particularly in regards to the two sisters’ active involvement in such dangerous circumstances) as Marlow often does.

Another aspect of Chandler’s source material that is successfully conveyed here is the writer’s world overview: an infinite populace so consumed with their competing self-interests, none of them can wind up satisfied. This overall outlook of defeatism, although given short shrift on a scene by scene basis (somewhat like the Neo-noir Chinatown), is what provides The Big Sleep, as much as anything else, its film noir identity.

Everyone implicated in bringing this film to life seem to be having a blast including stars Bogart and Bacall, supporting actors Martha Vickers, Dorothy Malone, John Ridgely and Charles Waldron, et al. Composer Max Steiner contributes one of his more playful, enthusiastic but appropriate scores and most of all, director Howard Hawks aligns and encourages his talented contributors in superb fashion. The Big Sleep will awaken on TCM (updated) Sunday, October 20 (2024) at 11 am PDT.

* Chandler’s two short stories divide the two sisters’ participation in nefarious activities with “The Killer in the Rain” centred around Carmen’s dealings with pornography and drugs. In “The Curtain” the same detective (here as in “Killer in the Rain” named Carmady instead of Marlow) is hired by General Winslow (Sternwood in the book and film The Big Sleep) to find Dudley O'Mara, his daughter’s (Vivian in both book and film) missing husband.

TCM's current monthly schedule can be confirmed by clicking on any of the above images. To confirm the correct Pacific Daylight (West Coast) showtime information, subtract 3 hours from the Eastern Daylight (East Coast) showtime listed on TCM’s schedule.

Complaining about the far-fetched circumstances in films noir is like objecting to the lack of realism in a Picasso painting. What I mean is that lovers of these criminally rich cinematic delights oughtn’t to bother picking out the implausibilities since they are practically a hallmark of noir's style. These thoughts immediately came to mind when confronted with the relatively little known noir thriller Split Second (1953) about a criminal gang on the run, hostages in tow, who have purposely chosen a nuclear testing site as their hide out, one that is set to be employed sooner than they expect.

Say what you will about the film’s unlikely premise, it establishes a truly inspired analogy between violence initiated on a personal scale by the escaped convicts and its far greater destructiveness when enacted by a sanctioned superpower. Split Second also happens to be a charismatically rich, taut and suspenseful noir packed with social vitriol. It's been confidently directed by (although non-appearing) actor Dick Powell who is ably assisted by an energetic cast and RKO’s ace combination of go-to cinematographer Nicholas Musuraca and composer Roy Webb. Jan Sterling's character cynically remarks: "Quite a spot... between the devil and the bright red bomb", an apt description for this cinematic explosive, which will start ticking (updated) in Eddie Muller’s Noir Alley Saturday, September 21 (2024) at 9 pm PDT and again on Sunday, September 22 at 7 am PDT.

TCM's current monthly schedule can be confirmed by clicking on any of the above images. To confirm the correct Pacific Daylight (West Coast) showtime information, subtract 3 hours from the Eastern Daylight (East Coast) showtime listed on TCM’s schedule.

Next, The Shop Around the Corner previously recommended here will open for business and our viewing pleasure Wednesday, November 8 at 5 pm PST.

(From left) Margaret Sullavan, James Stewart, Frank Morgan

After World War II, many returning servicemen were disillusioned to find jobs were scarce and their wives’ (or girlfriends’) faithfulness even scarcer. The Best Years of Our Lives addresses this reality head on when the Dana Andrews character finds it impossible to please either his previous employer or trophy wife upon his return to civilian life. Perhaps for this narrative distinction, authors Borde and Chaumeton referred to The Best Years of Our Lives in their highly respected book "Panorama of American Film Noir 1941 - 1953", the first to be published on the subject.

The film portrays no crime, the focus is not on Andrews’ experiences alone, and he comes out better off at the end without his superficial but admittedly gorgeous wife, which for myself, collectively place this film well outside of noir’s dark and gloomy world of illegal activity. Previously, I highly praised The Best Years of Our Lives for its exceptional musical score composed by Hugo Friedhofer in the first part of a series entitled Top Ten: Motion Picture Music Treasures. This emotionally powerful tour de force will commence on TCM Saturday, November 11 at 2 pm PST.

For a far more light-hearted romantic escapade, it's hard to beat the musical Guys and Dolls, a previous TCM recommendation here. You can bet they'll show on Sunday, November 12 at 4:15 am PST.

Both the Historical Dictionary of Film Noir (Spicer, '10) and the Film Noir Guide (Keaney, '03) list Casablanca as film noir. Decide for yourself when this revered classic, previously reviewed here, travels to TCM Sunday, November 12 at 12:45 pm PST.

A sterling example of how to present complex and enthralling characters all of whom develop naturally while still holding our intense fascination is Citizen Kane, a previous TCM recommendation here. This American film masterpiece, the only U.S. film represented on our Top Ten: World Cinema Treasures, will begin Wednesday, November 15 at (early morning) 3 am PST.

Immediately following Citizen Kane is one of film noir's finest, Gun Crazy, previously reviewed here. Noir's most distinguishing feature, a focus on their criminal participants' psychology, marks a major shift regarding motive. In the earlier "gangster" films, money and power provided enough reason for the pursuit of illegal gains whereas in noir, the internal cause behind the action is paramount, and runs so much deeper... and darker. See for yourself, Wednesday, November 15 at 5:15 am PST.

Like some of those motion pictures already recommended this month, Vertigo is another film that contentiously divides both experts and fans alike as to whether it should be included in the film noir category. Listing it as noir are the following: Film Noir Encyclopedia 4th Ed. (Silver, Ward, et al. '10), Dark City (Selby, '84), Historical Dictionary of Film Noir (Spicer, '10), Film Noir Guide (Keaney, '03), and Film Noir: Films of Trust and Betrayal (Duncan, ’02). For myself, I consider Vertigo not to be noir, the reasons for which are explained toward the latter part of my extensive review (meant for those who have seen the film) here. Either way, Vertigo is loaded with a wealth of multi-faceted insights and hidden rumination on human relationships. Viewers can enrich their lives on Wednesday, November 15 at 5 pm PST.

In keeping with their salute to Jimmy Stewart this moth, immediately following Vertigo, TCM is featuring another of the star's top-of-the-line performances. And in keeping with our semi-theme of "noir or not", check out Anatomy of a Murder which is also considered film noir by the Historical Dictionary of Film Noir (Spicer, '10). What is not up for debate is this film's well-earned status as one of the most authentic and enthralling courtroom dramas of all time. Previously reviewed here, the trial will begin Wednesday, November 15 at 7:30 pm PST.

Howard Hawks, who directed one of this month's earlier recommendations, The Big Sleep, excelled in all genres. Offering further proof of this is the hilarious Bringing Up Baby, previously reviewed here. The antics will begin on TCM Monday, November 20 at 3 pm PST.

Barbara Stanwyck stars as a devoted wife trying to save her husband (played by Barry Sullivan) but equally determined to match wits against killer Ralph Meeker in order to do so, in the previously recommended (here) noir, 1953's Jeopardy. This life or death struggle will commence Tuesday, November 21 at 9:45 am PST.

Journeying to a completely different cinematic landscape there's Preston Sturges' Sullivan's Travels, a masterful blend of personal concerns, romance and screwball comedy. This treasure is a previous Blu-ray recommendation here. Sullivan's comedic albeit enlightening adventures will begin Friday, November 24 at (early morning) 4:30 am PST.

Approximately 5 years after the release of Casablanca, Humphrey Bogart starred in a thrilling film noir adapted from David Goodis’ novel and directed by Delmer (3:10 to Yuma) Daves. Co-starring Bogart's partner in love, Lauren Bacall, Dark Passage combines the best of romance with the best of noir in the best location for both: San Francisco. Previously recommended as a Blu-Ray release here, Bogart will make his dark passage on TCM Monday, November 27 at 10:45 am PST.

My final TCM recommendation for the month is Hidden Gem #61, Hal Ashby's very personal and special 1970 directorial debut film The Landlord. He'll pay you a visit Tuesday, November 28 at 7 pm PST.

TCM's current monthly schedule can be confirmed by clicking on any of the above images. For those who live in parts of the U.S. other than the western region, the time zone can be adjusted in the upper right-hand corner of TCM's programme.

This month's Happy Birthday shout-out goes to actor/producer/director Ed Harris, who turns 67 on November 28th.

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This actor has given us a bounty of highly personalised, deeply committed performances and relatable characters in such diverse films as Under Fire (1983), The Right Stuff (1983), State of Grace (1990), Glengarry Glen Ross (1992), The Firm (1993), Apollo 13 (1995), Absolute Power (1997), The Truman Show (1998), Pollock (2000, which he also most assuredly directed), Enemy at the Gates (2001), A Beautiful Mind (2001), The Hours (2002), A History of Violence (2005), Gone Baby Gone (2007), and Appaloosa (2008, and his second directorial accomplishment). In addition, Harris is highly recognised as the "Man In Black" from the critically acclaimed TV series Westworld (2016 - ?).

November's Soundtrack recommendation is The Ten Commandments composed by Elmer Bernstein.

Cecil B. DeMille’s epic has enjoyed several different soundtrack representations over the years but nothing like this! Intrada Records, together with Paramount, Universal Music Group and MGM, has released a 6 CD set of Elmer Bernstein's monumental score to DeMille's heroic tale of Moses, the entire original two and a half hour soundtrack, much of which is in stereo and can be heard for the first time. This is, film music notwithstanding, composition of the highest order, thematically rich, emotionally eloquent and grandly opulent. For more information including international ordering, simply click on the accompanying image.

This month's Blu-ray selection is the prior TCM recommendation The Big Sleep, that offers both of the previously described versions: one being the more familiar 1946 theatrical release including reshot scenes with Bogart and Bacall's temperature-raising repartee, and the less familiar 1945 prerelease version, with its gallant attempt to explain the film's complex storyline (up to a point, that is). Click on the image for more information on this exciting Warner Bros. Region Free release that can be ordered from Amazon.com.

A.G.

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