Sunday, January 20, 2019
MURDER MY SWEET
Watched "Murder My Sweet" (1944) on TCM last night, starring Dick Powell and directed with artful craft by Edward Dmytryk. This is an inspired and fairly taut adaptation of Raymond Chandler's "Farewell My Lovely", and Powell, who we usually think of as a song-and-dance man, makes for an engaging Philip Marlowe, a cynical private eye, not-so-tough, wisecracking and whiskey drinking, a man who, once hired for a job, goes to the cruel truth at the heart of all the enterprises he finds himself embroiled in. Marlowe is a knight errant, in many ways, bound by a personal code me manages not to compromise in a city that is dark, full of sharp black corners and a population ruled by Bad Faith. Everyone lies to Marlowe, and they lie about everything--in this word, everyone has secrets they want to keep hidden, but coming up against Marlowe the protagonist, with his skewed virtue, hard truths and foul intents are revealed. Beautiful black and white here, a solid, even essential example of the film-noir style. The angles of the camera shots, the hard corners, the mastery of b&w and the various, shaded tones in between the extremes are nothing less than sculptural. Co-stars Claire Trevor and Anne Shirley are well-chosen to enact the High Society citizens of dubious intent, but it's actor Mike Mazurki, a recognizable character from the period, who makes an impression as Moose Malloy, a man-mountain of a thug just released from an eight years prison stretch who hires the detective Marlowe to find his one true love, Velma. She was the one thing that touched the soft spot in this dim- monster's heart-of-hearts and, true to what he knows, is willing to break as many legs and backs necessary to find his Velma and get that feeling back. Powell has everything needed for a perfect Marlowe, cynicism, fast wit, a sentimental streak that gets him knocked over the head, and an understated dedication to trusting his evolving sense of situational ethics.