The action star joins a long line of Hollywood legends who have put their spin on Raymond Chandler’s Philip Marlowe character. It’s a shame the movie is so lethargic and leaden.
), a shady drug dealer who makes references to his own homosexuality and whose chauffeur Cedric is a heavy with a Tommy gun.
Together, these characters strive to transform the film into a typically convoluted Chandler saga. The effort, unfortunately, is largely for naught.muddies the waters in ways that are less intriguing than indolent, and moreover, it’s not nearly as confusing as it should be; save for a couple of minor diversions, the tale told here is depressingly straightforward.
Between Kruger and Lange’s platinum ’dos, Neeson’s fedora, and the shiny old-school cars that everyone drives,certainly looks the part. William Monahan’s script, on the other hand, doesn’t sound it. Ham-fisted dialogue like, “I’m just an ordinary Joe, trying to earn a buck and stay out of jail” clangs stridently against the expertly recreated interior décor and palm tree-dappled exterior locations, turning the proceedings into an exercise in affectation.
Only Huston seems comfortable spewing his malevolent lines, and that speaks more to his preternatural gift for stately wickedness than to the screenplay. Worse, when it’s not actively trying to echo the hard-bitten cadences and ornate turns of phrase of the past, it bogs down in clumsy truisms and exposition., yet such real-world details are at odds with the film’s persistent artificiality.
Populated by archetypes shuffling their way through a funhouse variation of a Siodmak, Lang, or Hawkes affair, it lacks noir’s unnerving jaggedness, sultry sumptuousness, and grim fatalism, all of which is replaced by rigorous production detail and lots of posing and overdoing-it by its cast.
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