Still from The Big Sleep © 1946 Warner Bros. Pictures.
Raymond Chandler. William Faulkner. Leigh Brackett. Max Steiner. Howard Hawks. Lauren Bacall. Humphrey Bogart.
Some films with such a pedigree end up as perceived if not actual failures. On The
Big Sleep, released by Warner Bros. in 1946, everything went right — at least judging by the end result, never mind this oft-circulated anecdote: Hawks, past and future director of classics from His Girl Friday to Rio Bravo, discovered that he didn't know the answer to one of the movie's minor mysteries. So he asked Faulker, the soon-to-be Nobel laureate who wrote The Sound and the Fury and As I Lay Dying, moonlighting in Hollywood at Hawks' invitation. When Faulker realized that he didn't know the production reached out to Chandler, author of the Phillip Marlowe novel on which the film was based, and Chandler said he was stumped too. (Brackett was a science-fiction writer for prose and film whose credits later included The Empire Strikes Back; she worked on the script for The Big Sleep with Faulkner and Jules Furthman. Steiner was the frequently Oscar-nominated composer behind King Kong, Gone with the Wind,
and scores of other scores. Bogart and Bacall... well, they're Bogart and Bacall.)
I didn't see The Big Sleep on a big screen until college, during a half-term class
on film noir, and fell in love. While it has an infamous surfeit of plot it's even better known for the steamy, stylish dialogue crossing hardboiled crime fiction with screwball romantic comedy — perhaps as unorthodox a marriage as its stars, playing the superficially mismatched duo of hangdog gumshoe and high-cheekboned society gal, had themselves. Bogart and Bacall first shot off fireworks in Hawks' To Have and Have Not, he'd already played Sam Spade in The Maltese Falcon, and Bogart's turn in Casablanca is to many his quintessential performance, but I'll take The Big Sleep over any of them — although, quite happily, I don't have to.
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I'm a sucker for mash-ups, inventive arrangements, and the Mad Men theme. So
yay for the self-proclaimed "bunch of film/music nerds" behind Live Music Videos who've performed said theme (actually just an excerpt of the RJD2 track "A Beautiful Mine") "with a twist" — namely, by using it as instrumental backing for the pop standard "Nature Boy". I don't know if it ranks up there with Eminem's appropriation of Dido's "Thank You" for "Stan" or David Bowie and Bing Crosby's legendary "Little Drummer Boy / Peace on Earth" medley; at the very least, though, it's a thrill to hear the theme performed acoustically, and I look forward to more from this ensemble.
Related: Mup' Beat • Sisters Go Bangles • Emerald Sit-In
Cover to X-Men #137 [digital] © 1980 Marvel Comics. Pencils: John
Byrne. Inks: Terry Austin. Letters: Jim Novak. Colors: Unknown.
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