Cast:
Dick Powell (Philip Marlowe), Claire Trevor (Helen Grayle/Velma Valento), Anne Shirley (Ann Grayle), Otto Kruger (Jules Amthor), Mike Mazurki (Moose Malloy), Miles Mander (Mr. Grayle) Douglas Walton (Lindsay Marriott), Don Douglas (Police Lt. Randall), Ralf Harolde (Dr. Sonderborg), and Esther Howard (Mrs. Jessie Florian) Directed by Edward Dmytryk (#715 - Crossfire)
Review:
The 1940s were a tremendous time for mysteries and film noirs, with a handful involving Raymond Chandler in some form. Chandler had done a handful of writing in his early life, but he had worked in civil service and a variety of other things, which ended with being fired as vice president of the Dabney Oil Syndicate in the midst of the Great Depression. It was then that Chandler decided to write pulp fiction for a living (as inspired by reading stuff such as the pulp magazine Black Mask), which included his first novel (involving the character of Philip Marlowe) with The Big Sleep in 1939; Chandler finished seven novels with Marlowe prior to his death in 1959 at age 70. The first film based on Chandler's books was Time to Kill (1942), which was based on Chandler's third novel The High Window (1942) but with the lead character's name being "Michael Shayne" (which actually was a detective character created by Brett Halliday featured in a handful of films). There was then The Falcon Takes Over (1942), which borrowed elements from Chandlers' second novel in Farewell, My Lovely (1940) that was actually the third film in a series with a gentleman detective named "The Falcon". Now here we are in 1944 with the first Chandler adaptation with the Marlowe character while the author was busy with scripts himself (he co-wrote Double Indemnity along with And Now Tomorrow). RKO, who had been behind the aforementioned Falcon film, was behind this film, which was scripted by John Paxton. At the hand to direct is Dmytryk, who had risen from editor to directing by 1935, which was mostly in the B-category. RKO changed the title before release on the grounds that people thought it was a musical. The next adaptation of the Farewell novel would be in 1975, featuring Robert Mitchum as Marlowe.
Powell was actually more known for his singing and romantic image. Incidentally, he had applied for the lead role in Double Indemnity, but he lost out to Fred MacMurray. The resulting success of this film altered his image, and he would feature again in a Dmytryk film with Cornered (1945). Considered by some to be among the first of the film noirs, it is pretty evident one has a wonderfully boiled movie on their hands that maneuvers through 95 minutes with worthwhile pacing and dialogue (as sometimes told in voiceover) in cutting efficiency. There is a casual edge to Powell that carries the film in ways that could only be done in an era of blistering need for entertainment. He drifts in and out with curiosity that really could fit the description made once in the film as not so much a detective but a slot machine. His nightmare in this atmosphere is one that we can get behind within all of the dirty work that arises in mystery that is especially familiar to those who love their cut-rate stories. Shirley (in her final role prior to retiring) and Trevor are the dueling objects of curiosity that each do pretty well in the usual expectations, particularly for the femme fatale in the latter. Mazurki makes a worthwhile heavy (with a little bit of help in angling, since the former wrestler was only slightly taller than Powell). The climax in finishing the setup of its intro (a man with a blindfold) is a pretty good one in closing such a lingering story of crosses with worthwhile reward (Chandler was once quoted as saying an ideal mystery was "one you would read if the end was missing", incidentally). As a whole, when it comes to seedy noirs relayed to audiences with worthwhile conviction and foundation, you can't go wrong with films such as this one to check out.
Overall, I give it 8 out of 10 stars.
