The Big Sleep: A Cultural Review

The Big Sleep was a confusing film to say the least, but then again, most hardboiled detective films are. It was definitely not as dark nor as sexually based as other film noir examples, for it had a relatively happy ending, was not extremely jarring, and lacked the truly dark and dirty feel of many others. But, compared to My Man Godfrey I suppose it was quite horrifying. All in all however, I found Casablanca to be slightly more favorable in my mind, simply because I could understand it a little better and it had a much stronger message than The Big Sleep.
Now, normally I start out with a brief synopsis of the film, but do the movies utter lack of any cohesive elements I must admit that I was completely lost about halfway through. I suppose this is one of the characteristics of film noir and another reason the dark films of today are not classified as such, that sort of screenplay simply is not accepted anymore. The audience of today wants a movie they can, if not easily, at least possibly follow. However, I now know why film noir was both popular and unpopular in its time. I could see where the film was certainly enjoyable, the superb action sequences and the constant hilarity of the many sexual innuendos were two of its most appealing qualities, previously unseen in most films at the time. By the same token I am sure that were many other people not as drawn to these new qualities that would be more susceptible to be turned off by the films confusing nature. I myself did very much enjoy the film, for the exact reasons mentioned above. In fact if I were living in the time period I am sure that I would be one to continue to view these types of films simply to see these exciting new qualities. Today, however, the film loses some of its value due to the mass of other films that pull off the same effect, without the element of confusing writing. Still it was good.
The main character, played by Humphrey Bogart, is introduced as the typical private eye hired by Gen. Sternwoood to investigate a case of blackmail. Agreeing Bogart is thrown into an overly complicated plot with an ever increasing amount of suspects, motives, and additional crimes. Our ill fated detective is led to Gieger’s bookstore, a supposed front for more illicit activities. Failing to converse with Gieger on account of his own sexually exploits, Bogart is forced to follow him home. He arrives too late, however, as upon arrival Gieger is killed by a mysterious attacker. Finding Carmen Sternwood, subject of the blackmail and younger daughter of Bogart’s employer, he takes her home, after failing to force her to reveal the killer. He then returns to Geirger’s home, but is surprised to find the body missing.
The plot thickens as another detective reveals that the Sternwood’s chauffer has been found at the bottom of a lake or something similar. Our female main, Vivian, makes her presence known in the story by telling him the blackmailers are now after her and have asked for 5,000 dollars. It is at this point that Carmen finally reveals the killer, a man named Brody. Following the lead Bogart visits Brody, surprised to find both Vivian and Gieger’s female assistant. Apparently, Vivian was going to pay Brody with money she borrowed from a kingpin by the name of mars, who coincidentally had harassed our main earlier that day. After a tense and pretty nonviolent struggle in which everyone pulls out a gun, Bogart finds the photos, but is interrupted by a knock at the door. Brody, answering, is shot, which compels Bogart to chase after him. Bogart catches the mysterious shooter, whom, upon capture, explains that it was actually the chauffer that killed Geiger, Brody just seized the opportunity to steal the photos and blackmail the Sternwoods himself.
Now the film seems all wrapped up, Bogart figured out who the killer was, got back the incriminating photos, and explained everything to the police, but the movie is only half over. This is when the film really gets confusing, but the action escalates, so it’s all good. From what I can tell Bogart suspects something about Vivian so he follows her to a gambling joint, where she mysteriously wins a lot of money. He is then jumped by two men, but is saved by a, very short lived, supporting character by the name of Jones. Jones is then bumped off by one of the Kingpin’s men, who is pretty creepy by the way, while Bogart waits so that he can follow him. Needless he say, he does, but, of course, is captured by the murder. Interestingly enough, they decide not to kill him, and leave the house, giving Vivian enough time to save him, just before they can escape though, the murder and accomplice return, where Bogart defeats them.
The movie ends with the confrontation between Bogart and the kingpin. The two converse in a tense fashion, each explaining to the other how they are going to kill the other one. Naturally, Bogart outwits the villain and the day is saved, for it ends up being that the criminal was responsible for everything. Finally, while very un noir like, Bogart and Vivian tell each other how much they like each other, kiss, and the credits roll.
It seemed to be the film was an extremely “light” noir film. It lacked much of the dark lighting common to most noir films. This could be the fact that much of the plot involved characters of the upper or middle class, so the film did not take place in as much seedy underworld settings as others. Additionally, the film did not have an exceptionally tragic ending, while it certainly lacked the happy feeling of everything being all tied up in the end, it did end with the bad guy vanquished and both mains surviving. It was, however, still a film noir.
The most prominent evidence of this was the women. After reading so much about it you think I would have been less surprised, but man. It seemed like nearly every female character the main came in contact with was an absolutely shameless slut. While not exactly femme fatal, in the deadly sense, the sex object message was still there. I mean the first scene, Carmen comes in, wearing a skirt that would be stretching sensibilities even today, and just begins flirting with Bogart like there is no tomorrow. This is light years away from Irene in My Man Godfrey, or even Ilsa with her gun in Casablanca. From book store proprietor to taxi cab driver, nearly every girl throws herself on the detective. I must say though that the taxi driver scene was absolutely priceless. But still, it seemed like every conversation involving a young woman ended with sexual connotations, even today we do not see such blatant innuendo.
Additionally, the film did have a couple other evidences proving it worthy of the noir caste. The violence being one, still a far cry from today, compared to other films of the era it was rather unprecedented. In this film violence was definitely meant to be a part of the film, where as in Casablanca, the violence was barely noticed as that was not meant to be substantial in itself. I mean in this film everyone had a gun. As I mentioned before, the confusion was definitely there as well, while the film did not have an over excessive amount of weird camera angles and such, it was jarring. Many of the plot lines did not seem to have ends and the movie itself left no room for the absent mind, not even for a second. One would probably have to sit and watch the film with a finger on the rewind button to fully understand all the happenings. Oh well, to each his own.
In the end though, the movie was still pretty good. The director did very well in the fact that the film was based on a hardboiled detective novel, and didn’t shock the audience so much the film became un enjoyable. Additionally, I am sure it was difficult to make a film adaption of such a book with such restrictive censorship and such. Truly this film is a shining example of the noir class. If you can use shining and noir in the same sentence.