Private investigator Philip Marlowe helps a friend out of a jam, but in doing so gets implicated in his wife's murder.Private investigator Philip Marlowe helps a friend out of a jam, but in doing so gets implicated in his wife's murder.Private investigator Philip Marlowe helps a friend out of a jam, but in doing so gets implicated in his wife's murder.
- Awards
- 2 wins & 1 nomination
Stephen Coit
- Detective Farmer
- (as Steve Coit)
Vincent Palmieri
- Vince
- (as Vince Palmieri)
Pancho Córdova
- Doctor
- (as Pancho Cordoba)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaRobert Altman decided that the camera should never stop moving, and put it on a dolly. However, the camera movements would counter the actions of the characters so that the audience would feel like a voyeur.
- GoofsMarlowe's initial line following Dr. Verringer's demand of $4400 from Roger Wade (in the hospital) appears to be dubbed. Marlowe lights a cigarette and does not move his mouth as the line is heard.
- Quotes
Philip Marlowe: Nobody cares but me.
Terry Lennox: Well that's you, Marlowe. You'll never learn, you're a born loser.
Philip Marlowe: Yeah, I even lost my cat.
- ConnectionsEdited into El adios largos (2013)
- SoundtracksThe Long Goodbye
by John Williams and Johnny Mercer
Performed by The Dave Grusin Trio, Jack Sheldon, Clydie King, Jack Riley, Morgan Ames, Aluminum Band, The Tepoztlan Municipal Band
Featured review
Quirky, Atmospheric, Unique Altman Spin to Chandler!
I admit, when I first viewed "The Long Goodbye", in 1973, I didn't like the film; the signature Altman touches (rambling storyline, cartoonish characters, dialog that fades in and out) seemed ill-suited to a hard-boiled detective movie, and Elliott Gould as Philip Marlowe? No WAY! Bogie had been perfect, Dick Powell, nearly as good, but "M.A.S.H.'s" 'Trapper John'? Too ethnic, too 'hip', too 'Altman'! Well, seeing it again, nearly 34 years later, I now realize I was totally wrong! The film is brilliant, a carefully-crafted color Noir, with Gould truly remarkable as a man of morals in a period (the 1970s) lacking morality. Perhaps it isn't Raymond Chandler, but I don't think he'd have minded Altman's 'spin', at all! In the first sequence of the film, Marlowe's cat wakes him to be fed; out of cat food, the detective drives to an all-night grocery, only to discover the cat's favorite brand is out of stock, so he attempts to fool the cat, emptying another brand into an empty can of 'her' food. The cat isn't fooled by the deception, however, and runs away, for good...
A simple scene, one I thought was simply Altman quirkiness, in '73...but, in fact, it neatly foreshadows the major theme of the film: betrayal by a friend, and the price. As events unfold, Marlowe would uncover treachery, a multitude of lies, and self-serving, amoral characters attempting to 'fool' him...with his resolution decisive, abrupt, and totally unexpected! The casting is first-rate. Elliott Gould, Altman's only choice as Marlowe, actually works extremely well, BECAUSE he is against 'type'. Mumbling, bemused, a cigarette eternally between his lips, he gives the detective a blue-collar integrity that plays beautifully off the snobbish Malibu 'suspects'. And what an array of characters they are! From a grandiosely 'over-the-top' alcoholic writer (Sterling Hayden, in a role intended for Dan Blocker, who passed away, before filming began), to his sophisticated, long-suffering wife (Nina Van Pallandt), to a thuggish Jewish gangster attempting to be genteel (Mark Rydell), to a smug health guru (Henry Gibson), to Marlowe's cocky childhood buddy (Jim Bouton)...everyone has an agenda, and the detective must plow through all the deception, to uncover the truth.
There are a couple of notable cameos; Arnold Schwarzenegger, in only his second film, displays his massive physique, as a silent, mustached henchman; and David Carradine plays a philosophical cell mate, after Marlowe 'cracks wise' to the cops.
The film was a failure when released; Altman blamed poor marketing, with the studio promoting it as a 'traditional' detective flick, and audiences (including me) expecting a Bogart-like Marlowe. Time has, however, allowed the movie to succeed on it's own merits, and it is, today, considered a classic.
So please give the film a second look...You may discover a new favorite, in an old film!
A simple scene, one I thought was simply Altman quirkiness, in '73...but, in fact, it neatly foreshadows the major theme of the film: betrayal by a friend, and the price. As events unfold, Marlowe would uncover treachery, a multitude of lies, and self-serving, amoral characters attempting to 'fool' him...with his resolution decisive, abrupt, and totally unexpected! The casting is first-rate. Elliott Gould, Altman's only choice as Marlowe, actually works extremely well, BECAUSE he is against 'type'. Mumbling, bemused, a cigarette eternally between his lips, he gives the detective a blue-collar integrity that plays beautifully off the snobbish Malibu 'suspects'. And what an array of characters they are! From a grandiosely 'over-the-top' alcoholic writer (Sterling Hayden, in a role intended for Dan Blocker, who passed away, before filming began), to his sophisticated, long-suffering wife (Nina Van Pallandt), to a thuggish Jewish gangster attempting to be genteel (Mark Rydell), to a smug health guru (Henry Gibson), to Marlowe's cocky childhood buddy (Jim Bouton)...everyone has an agenda, and the detective must plow through all the deception, to uncover the truth.
There are a couple of notable cameos; Arnold Schwarzenegger, in only his second film, displays his massive physique, as a silent, mustached henchman; and David Carradine plays a philosophical cell mate, after Marlowe 'cracks wise' to the cops.
The film was a failure when released; Altman blamed poor marketing, with the studio promoting it as a 'traditional' detective flick, and audiences (including me) expecting a Bogart-like Marlowe. Time has, however, allowed the movie to succeed on it's own merits, and it is, today, considered a classic.
So please give the film a second look...You may discover a new favorite, in an old film!
helpful•12322
- cariart
- Apr 23, 2007
Details
- Release date
- Country of origin
- Languages
- Also known as
- Der Tod kennt keine Wiederkehr
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $1,700,000 (estimated)
- Gross worldwide
- $23,191
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