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The Big Sleep
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The Big Sleep

Book Details

Format Paperback / Softback
ISBN-10 1839021594
ISBN-13 9781839021596
Publisher Bloomsbury Publishing PLC
Imprint BFI Publishing
Country of Manufacture IN
Country of Publication GB
Publication Date Nov 12th, 2020
Print length 80 Pages
Weight 132 grams
Dimensions 41.40 x 14.00 x 0.20 cms
Product Classification: Films, cinemaFilm theory & criticism
Ksh 2,350.00
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The Big Sleep: Marlowe and Vivian practising kissing; General Sternwood shivering in a hothouse full of orchids; a screenplay, co-written by Faulkner, famously mysterious and difficult to solve. Released in 1946, Howard Hawks' adaptation of Raymond Chandler reunited Bogart and Bacall and gave them two of their most famous roles. The mercurial but ever-manipulative Hawks dredged humour and happiness out of film noir. 'Give him a story about more murders than anyone can keep up with, or explain,' David Thomson writes in his compelling study of the film, 'and somehow he made a paradise.'When it was first shown to a military audience The Big Sleep was coldly received. So, as Thomson reveals, Hawks shot extra scenes, 'fun' scenes, to replace one in which the film's murders had been explained, and in so doing left the plot unresolved. Thomson argues that, if this was accidental, it also signalled a change in the nature of Hollywood cinema: 'The Big Sleep inaugurates a post-modern, camp, satirical view of movies being about other movies that extends to the New Wave and Pulp Fiction.'

The Big Sleep: Marlowe and Vivian practising kissing; General Sternwood shivering in a hothouse full of orchids; a screenplay, co-written by Faulkner, famously mysterious and difficult to solve. Released in 1946, Howard Hawks'' adaptation of Raymond Chandler reunited Bogart and Bacall and gave them two of their most famous roles. The mercurial but ever-manipulative Hawks dredged humour and happiness out of film noir. ''Give him a story about more murders than anyone can keep up with, or explain,'' David Thomson writes in his compelling study of the film, ''and somehow he made a paradise.''

When it was first shown to a military audience The Big Sleep was coldly received. So, as Thomson reveals, Hawks shot extra scenes, ''fun'' scenes, to replace one in which the film''s murders had been explained, and in so doing left the plot unresolved. Thomson argues that, if this was accidental, it also signalled a change in the nature of Hollywood cinema: ''The Big Sleep inaugurates a post-modern, camp, satirical view of movies being about other movies that extends to the New Wave and Pulp Fiction.''


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