Ann Grayle: You know, I think you’re nuts. You go barging around without a very clear idea of what you’re doing. Everybody bats you down, smacks you over the head, fills you full of stuff…and you keep right on hitting between tackle and end. I don’t think you even know which side you’re on.
Phillip Marlowe: I don’t know which side anybody’s on. I don’t even know who’s playing today.
Now after seeing the original Dick Powell as a crooner in light song and dance flicks, his re-imagined image as Chandler’s Phillip Marlowe is that much more surprising. This film quickly dropped being the potential musical Farewell my Lovely and ultimately became a hard-boiled Noir called Murder, My Sweet. To Powell’s credit, his new alter ego works and he brings his own spin to the role. Perhaps he has a little more humor than Bogart but there is still enough of the tough guy in his role to make it work. He’s also deliciously cheeky which is perfectly illustrated by a scene where he lights his match on the butt of a statue. It’s great.
Edward Dmytryk gave us a film that has often been credited with helping to define the film-noir style of the 1940s. It makes perfect sense since his film brims with many of the major hallmarks of the genre. The powder-burned Marlowe’s initial narration carried through a flashback lends a wry and cynical commentary to the entire story. The screen itself is cloaked in shadows, filled with billows of cigarette smoke, and is often superimposed with disorienting images.
Early on one man named Marriot is dead, Marlowe gets clocked over the head, roughed up several times, not to mention drugged up. He gets hired, used, thrown off, and seduced more than once. All because of an expensive jade necklace. As Anne (Anne Shirley) notes, Marlowe goes charging into his case not quite knowing what is going on or who he is dealing with. That ambiguity is one of the strengths of this film because we are never allowed the comfort of knowing who to side with.
By default, we begin the film from the point of view of Marlowe, and so he is our anti-hero who we track with the entire film. He gets the giant thug Moose (Mike Mazurki) tossed his way first. Marlowe meets the pretty Anne who hides her true intentions, introducing him to her wealthy father (Miles Mander) and seductive stepmother (Claire Trevor). Next up is quack doctor Jules Amthor (Otto Kruger) who appears to be our most clear cut villain and yet nothing is for sure.
It takes a late night confrontation at a beach house for things to straighten themselves out. Yet even up until that point, we do not know Marlowe’s true intentions, and he does not find out the resolution of the case until well after, thanks to the powder burns to the face.
Aside from Dick Powell’s anchoring performance, Claire Trevor is a tantalizing femme fatale, while Anne Shirley plays the guardian angel rather well. The juxtaposition of a morally questionable woman and an innocent girl develops the tension, not to mention that they are step-daughter and step-mother. When it’s all said and done, Marlowe got a sweet deal. He didn’t even need the jade necklace.