Film / The Long Goodbye

The Long Goodbye is a 1973 film directed by Robert Altman and starring Elliott Gould as detective Philip Marlowe. It was adapted from the Raymond Chandler novel of the same name by Leigh Brackett (who earlier co-wrote the most famous film version of Chandler's The Big Sleep).

Marlowe's old friend Terry Lennox comes by in some sort of trouble, asking for a ride to Tijuana, which Marlowe provides. This winds up getting Marlowe in hot water with the LAPD, when it turns out that Lennox's wife Susan was murdered and Terry is the prime suspect. Meanwhile, Eileen Wade hires Marlowe to find her missing husband, noted author Roger Wade (Sterling Hayden)—and it turns out that the Wades' Malibu home is right down the beach from the Lennoxes. Things get even more complicated when crime boss Marty Augustine comes to Marlowe's apartment demanding $355,000 that Lennox was supposed to deliver but instead has absconded with.

A pre-stardom Arnold Schwarzenegger has a non-speaking part as a Mook. The role of Terry Lennox is played by Jim Bouton, a former Major League Baseball pitcher far better known for his famous baseball memoir, Ball Four.

This film has examples of:

  • Adaptational Heroism: Eileen Wade is not the Femme Fatale she is in the book.
  • Adaptational Villainy: Terry Lennox IS the murderer, after all! While the book didn't exactly have this character come across as particularly clean by the end, still, lying to your friend and letting him deal with the consequences still isn't as bad as murder....
  • Adapted Out: Most blatantly, Linda Loring—the classy yet just-as-snarky-as-Marlowe Spirited Young Lady whom Marlowe meets in the book during his investigation. She's the sister of Terry's late wife, and shares Marlowe's doubts that Terry killed anyone—and thus, becomes Marlowe's ally and uneasy assistant in his investigation. Chandler's purpose for her was to be the "Princess In Sour Dress" to Marlowe's Knight in Sour Armor—and their parting near the book's end forces the detective to begin questioning his once-firm love of isolation. In the movie, she's nowhere to be found, and instead Altman has Marlowe strike up a complicated relationship with Mrs. Wade—who, ironically, was the murderer in the book.
  • The Alcoholic: Roger Wade
  • Ambulance Cut: Marlowe runs into the street, gets hit by a car, and we cut to the ambulance.
  • Angry Guard Dog: The Wades' dog is never violent, but it is always barking angrily whenever Marlowe is around.
  • Appeal to Worse Problems: A variation of the "starving children in Africa" argument: when the cat doesn't want to eat, he says, "What about all the tigers in India they're killing because they don't got enough to eat?"
  • Author Avatar: Roger Wade is made into one for Raymond Chandler in the film. Indeed, Altman said that he was far more inspired by Chandler's letters and diaries in making this film than the original novel.
  • Badass in a Nice Suit: Marlowe is a professional — he's always got that suit.
  • Bookends: The song Hooray For Hollywood plays at the beginning and the end of the film.
  • Born in the Wrong Decade: Marlowe is man holding fifties values, trying to survive in a cynical seventies L.A.
  • Butt Monkey: Marlowe as part of the deconstruction of private eyes. He's a man who lacks a Friend on the Force as the police have no idea who he is. He is no ladies man, as the girls next door make fun of him and the villains frequently get the better of him in fights. He also loses his cat.
  • Catch Phrase: "It's OK with me."
  • Cluster F-Bomb: A few.
  • Cool Car: Marlowe's 1948 Lincoln Continental convertible
  • Covers Always Lie: The DVD cover shows Marlowe holding a Beretta 92SB, even though it didn't even exist when the film was made, and a poster has him holding a Colt Detective Special with the Tag Line "Nothing says goodbye like a bullet", a line from an early script that was never incorperated into the final movie, yet he uses a Smith and Wesson Model 10 at the end.
  • Creator Cameo: If you blink during the scene where Marlowe gets taken to the hospital, you'll miss Robert Altman as the guy sitting in the passenger seat of the ambulance.
  • Cut Himself Shaving: Marlowe notices a bruise on Eileen's cheek, and says it doesn't look like she walked into a door. She says that she didn't. She fell out of bed.
  • Deadpan Snarker: Practically everything Marlowe says is a snark.
  • Deconstruction: Supposedly Altman wanted the film to be one, Up to Eleven, of the whole "Private-Eye" genre — to the point where it would actually more or less put an end to these kinds of movies. Didn't happen, of course.
  • Death by Adaptation: Terry Lennox. "Yeah. I lost my cat."
  • Destroy the Product Placement: The hero is interrupted by a gangster who is accompanied by his goons and his lovely mistress. Said mistress interrupts the gangster's rant, by informing him that she’s thirsty and would like a Coke. One of his goons fetches an open bottle from the refrigerator. The gangster swigs from it, complains that it’s flat, and then swings it into the mistress’ face, causing it to break and leaving her in pain.
  • Distracted by the Sexy: Various visitors to Marlowe's apartment getting distracted by all the semi-naked women in the next apartment.
  • Driven to Suicide: Roger.
  • Even Evil Has Standards: Marty Augustine's thugs are genuinely shocked when he hits his girlfriend in the face with a Coke bottle.
  • Faking the Dead: Lennox is still alive. But not for long.
  • Fanservice Extra: The hot women in the apartment next to Marlowe's, who never wear tops.
  • Faux Affably Evil: Marty Augustine is fairly personable in-between his bursts of brutality.
  • The Film of the Book: Although it changes the time period and the identity of the killer in the end. And Marlowe's One True Love in the book, Linda Loring, is noticeably absent—apparently to make room for a more "fleshed-out" Mrs. Wade.
  • First-Name Basis: Mrs. Wade asks Marlowe to start calling her Eileen.
  • Genre-Busting: It's a neo-noir with a heavy dose of surrealism and black comedy.
  • Genre Savvy: Marlowe, on the typical if-this-were-a-movie dialogue for interrogation scenes:
    "So, this is where I'm supposed to say, 'What is all this about?'—and he says, uh, 'Shut up, I ask the questions'?"
    "Yeah, yeah, that's right!"
    • He actually says this in the book, too.
  • Gratuitous Spanish: The cat door has "El Porto del Gato" written on it. Also, Augustine talks to his Mexican mook in Spanish, even though the guy always answers in English.
  • Happy Dance: Marlowe does this at the end after killing Lennox and walking past Ellen.
  • Kick the Dog: Marty Augustine breaks a Coke bottle on his mistress's face immediately after telling her she's the most important person in his life just to prove to Marlowe that he means business. Even his hired goons think that went too far.
  • Kosher Nostra: Marty Augustine, who complains that Marlowe stopped him from going to the temple for Sabbath.
  • Never Suicide: Although Wade really does kill himself, Terry Lennox faked his death.
  • The Nicknamer: Roger Wade has nicknames for almost everybody.
  • No Celebrities Were Harmed: Roger Wade's heavy beard, heavier drinking, braggadoccio, and suicidal tendencies all paint him as a late-period Ernest Hemingway.
  • Police Are Useless: The police harass Marlowe, but otherwise seem to just accept what anyone tells them about the Lennox case without question.
  • Pre-Mortem One-Liner: Marlowe: Yeah, I even lost my cat.
  • Private Detective: Perhaps the most famous one of all time...
  • Recurring Riff: Every piece of music, even a doorbell ring, is the tune of the title song.
  • Rhetorical Question Blunder: In the interrogation room.
    Cop: Are you crazy?
    Marlowe: Yes.
  • Running Gag: The music, which is all diegetic, is all repetitions of the title song. Including when it's a doorbell ring and when it's being performed by a mariachi band in a funeral procession.
  • Shout-Out: To all kinds of private-eye movies and stories.
    • The scene where Marlowe puts on black face is modelled on a scene in Jean-Luc Godard's Pierrot le Fou where Jean-Paul Belmondo paints his face blue.
    • The ending where Marlowe walks past Ellen Wade is a spoof on the end of The Third Man. Here the roles are reversed. The Hero walks past and ignores the Femme Fatale and rather than being melancholy and serious, Marlowe is in a good mood.
  • Smoking Is Cool: Marlowe smokes cigarettes incessantly and in nearly every scene.
  • Theme Tune Cameo: Taken to its logical extreme. With the exception of "Hooray for Hollywoood" in the opening and closing of the movie, the only song heard in the movie is various arrangements of the theme song, "The Long Goodbye" used diegetically. So when a character turns on the radio, that's the song that plays, when a character is at a bar there's a piano player singing that song, in the supermarket, a muzak version is playing on the overhead, and when the nudist, hippie, neighbors, are chanting, they're chanting the theme also. The lyrics even Lampshade this:
    Can you recognize the theme?
  • This Is the Part Where...: When Philip Marlowe is first questioned by Sergeant Green and Detective Dayton, he says "This is where I say, 'What's this all about?' and you say, 'We ask the questions.'"
  • Title Drop: The theme song is sung in-universe by a character.
  • Title Theme Tune: Played throughout.
  • Unresolved Sexual Tension: Marlowe gets it bad for Ellen. Unfortunately she is using him.
  • Vanity License Plate: Mrs. Wade's says "Lov You."
  • Vigilante Execution: Marlowe blows Terry Lennox away after discovering he murdered his wife and betrayed his best friend. This is a change from the novel, where Lennox didn't kill his wife, but still faked his death and left his friend with the mess...and gets away with it scot-free.
  • Wounded Gazelle Gambit: While they're questioning Marlowe, one detective pushes him into the other so they can run him in for assaulting an officer.
  • Writer's Block: Roger Wade suffers from this.