Product Details

• Amazon Sales Rank: #52214 in DVD
• Rating: R (Restricted)
• Aspect ratio: 1.33:1
• Number of discs: 1
• Format: PAL
• Original language: English
• Running time: 95 minutes

Amazon.com
Of all the Philip Marlowes, Robert Mitchum's in Farewell, My Lovely resonates most deeply. That's because this is Marlowe past his prime, and Mitchum imbues Raymond Chandler's legendary private detective with a sense of maturity as well as a melancholy spirit. And yet there's plenty of Mitchum's renowned self-deprecating humor and charismatic charm to remind us of his own iconic presence. As in the previous 1944 film version, Murder, My Sweet, Marlowe searches all over L.A. for the elusive girlfriend of ex-con Moose Malloy, a lovable giant who might as well be King Kong. In typical Chandler fashion, the weary Marlowe uncovers a hotbed of lust, corruption, and betrayal. Like Malloy, he's disillusioned by it all, despite his tough exterior, and possesses a tinge of sentimentality for the good old days. About the only current dream he can hold onto is Joe DiMaggio and his fabulous hitting streak. Made in 1975, a year after Chinatown (shot by the same cinematographer, John Alonzo), Farewell, My Lovely is more straightforward and nostalgic, but still possesses a requisite hard-boiled edge, and the best kind of angst the '70s had to offer. (By the way, you'll notice Sylvester Stallone in a rather violent cameo, a year before his Rocky breakthrough.) --Bill Desowitz

Customer Reviews

MITCHUM IS MARLOWE
Director Richard Rush presented us a valentine with this incredible film, the third version made from the the 1940 Raymond Chandler novel. At least seven actors have portrayed Philip Marlowe. Robert Mitchum, played the part twice. The first time, in this film, he was nothing short of brilliant; just world-weary, battered, meloncholy, and tough enough to spark this tale into a full flame. His voice-over narrative hit perfect pitch; all gravel, too many smokes, and cheap booze. Mitchum, himself the veteran of several Noir classics, played the gumshoe as comfortable as one's favorite overcoat; a perfect fit. He shuffled lazy-lidded yet irascible and alert, as ready for a sap behind the ear, as he was to be the recipient of the sexual energy radiated off of Charlotte Rampling as Helen, the femme. She, likewise, postured perfectly in the Noir 1940's clothes and hairstyles. John Alonzo, fresh from shooting CHINATOWN, presented us with an LA bathed in just the right mix of golden light and shadow. Jerry Goldsmith delivered another spectacular score, overlapping jazz, blues, and swing, underscoring the action and dialogue masterfully. John Ireland, also a veteran of classic Noir, Anthony Zerbe, and Harry Dean Stanton gave tremendous support with their roles. There was even a couple of glimpses of Sly Stallone ( pre-ROCKY ) as a viscious punk. Some of the critics felt that this lush color film had to try too hard for that Noir feel. I disagree. This movie is a modern Noir classic, even in living color.

Somebody please release this!
That this film is not currently available on DVD is a dirty shame, as it is among Mitchum's best performances, certainly of his later career as a grizzled vet of the vestiges of life. The film-makers manage to effectively incorporate Mitch's advanced age into this fine adaption of Chandler's novel, giving the film a melancholy, borderline-nostalgiac feel. One can fantasize of John Huston directing Mitchum, say, twenty years earlier, but never mind: "Farewell" is a classic in its own right, benifiting from the success of Polanski's "Chinatown" and the baby boomer's appreciation of film noir and Bogart-era private-eye pictures. Excellent supporting performances abound: John Ireland (one of his best turns), Harry Dean Stanton (in a small role), Anthony Zerbe (before he became almost a cliche). Charlotte Rampling is a deliriously sexy mix of class and trash, and do not miss a couple of scenes with Mitchum and Sylvia Miles that are just perfect. Hey, that is none other than pulp-noir genius Jim Thompson in a tiny but memorable role. His one and only acting job allowed Thompson was able to get much-needed medical insurance.

Lots of dark scenes in old L.A.
If you know the story it doesn't matter. The moody noir atmosphere is everything in this film. It is the type of movie that can be viewed multiple times. The acting by the veteran actors are authentic for the period. The pacing is right on target and viewing this picture is like going back in a time machine. It captures a time and place in L.A. of the early forties and the story proceeds without any pretense or glamor. They must re-release this film at all costs.