Why did they change the name of the movie?

How closely does the movie follow the novel?

You're not a detective, you're a slot machine. You'd slit your own throat for 6 bits plus tax.

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Robert Mitchum and Jane Greer in Out of the Past (1947)

Alan Baxter, Wallace Ford, Robert Ryan, George Tobias, and Audrey Totter in The Set-Up (1949)

Lana Turner and John Garfield in The Postman Always Rings Twice (1946)

Burt Lancaster, Ava Gardner, William Conrad, and Charles McGraw in The Killers (1946)

Peggy Cummins and John Dall in Gun Crazy (1950)

Lauren Bacall and Humphrey Bogart in The Big Sleep (1946)

Robert Mitchum, Robert Young, Gloria Grahame, Sam Levene, and Robert Ryan in Crossfire (1947)

Edward G. Robinson and Joan Bennett in The Woman in the Window (1944)

Robert Mitchum and Charlotte Rampling in Farewell, My Lovely (1975)

Dick Powell and Claire Trevor in Murder, My Sweet (1944)

She was a charming middle-aged lady with a face like a bucket of mud. I gave her a drink. She was a gal who'd take a drink, if she had to knock you down to get the bottle.

Dick Powell and Anne Shirley in Murder, My Sweet (1944)

Mike Mazurki, Dick Powell, and Dewey Robinson in Murder, My Sweet (1944)

Dick Powell

Claire Trevor

Anne Shirley

John Paxton

Raymond Chandler

After being hired to find an ex-con&apos;s former girlfriend, Philip Marlowe is drawn into a deeply complex web of mystery and deceit.

Edward Dmytryk

Murder, My Sweet

Film Noir 101

This is the movie that hooked me on &quot;Film Noir.&quot; I first saw this on the late show while suffering a killer flu. Even through local TV editing and enough medicine to tranquilize a circus tent, it had me sitting at attention from start to finish. It wasn&apos;t until several years later that I got to see it uncut on cable that I got the full effect. Having grown up with Bogart&apos;s hard-boiled private eye archetype, Dick Powell was a complete revelation to me. If you double-bill this with Bogart&apos;s &quot;Big Sleep,&quot; you see at once that Powell truly IS Phillip Marlowe (even Raymond Chandler thought so), and Bogart is much better suited to portray Hammet&apos;s colder, meaner Sam Spade. Powell gives Marlowe a vulnerable cynicism as well as a touch of the &quot;everyman,&quot; that Bogart wouldn&apos;t be able to pull off until later in his career. Powell&apos;s background in romantic musicals gives him access to a far deeper emotional range, needed to play the complex and conflicted Marlowe; his cynicism, his humour, his loyalty to his code...it&apos;s all there. Powell manages to give extra resonance to some of Chandler&apos;s throw-away similes! No wonder he claimed this as his favorite role!

The direction by Edward Dmytryk and cinematography by Harry Wild are perfect, giving the film a tight, economical yet alluring vintage &quot;feel&quot;. Working on a tight budget, they manage to infuse it with all the seedy, chaotic topography that would serve as the touchstones for every film of this type from &quot;Night of the Hunter&quot; to &quot;Blade Runner.&quot; While this isn&apos;t the first Noir film, it may well be the best.

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This is the movie that hooked me on "Film Noir." I first saw this on the late show while suffering a killer flu. Even through local TV editing and enough medicine to tranquilize a circus tent, it had me sitting at attention from start to finish. It wasn't until several years later that I got to see it uncut on cable that I got the full effect. Having grown up with Bogart's hard-boiled private eye archetype, Dick Powell was a complete revelation to me. If you double-bill this with Bogart's "Big Sleep," you see at once that Powell truly IS Phillip Marlowe (even Raymond Chandler thought so), and Bogart is much better suited to portray Hammet's colder, meaner Sam Spade. Powell gives Marlowe a vulnerable cynicism as well as a touch of the "everyman," that Bogart wouldn't be able to pull off until later in his career. Powell's background in romantic musicals gives him access to a far deeper emotional range, needed to play the complex and conflicted Marlowe; his cynicism, his humour, his loyalty to his code...it's all there. Powell manages to give extra resonance to some of Chandler's throw-away similes! No wonder he claimed this as his favorite role!

The direction by Edward Dmytryk and cinematography by Harry Wild are perfect, giving the film a tight, economical yet alluring vintage "feel". Working on a tight budget, they manage to infuse it with all the seedy, chaotic topography that would serve as the touchstones for every film of this type from "Night of the Hunter" to "Blade Runner." While this isn't the first Noir film, it may well be the best.

After being hired to find an ex-con's former girlfriend, Philip Marlowe is drawn into a deeply complex web of mystery and deceit.

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Murder, My Sweet

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