Disclaimer: Whilst released in some territories theatrically, where I am, Marlowe was merely afforded a DTV release.
Created by crime writer Raymond Chandler, Private Detective Philip Marlowe has been solving big screen mysteries since the early 40’s. Portrayed by multiple quality performers throughout the years, ranging from the iconic (Humphrey Bogart), the laconic (James Garner) to the laid back (Elliot Gould).
My own personal favourite take on the character is Robert Mitchum’s in Farewell my Lovely (1975), who at the time was thought too old for the part. Even so, he seemed to epitomise the perfect hard boiled detective, with some smart dialogue not far away from his lips.
Now it’s Liam Neeson’s turn to sport the fedora hat and trench coat, bringing his particular set of skills to the character in Neil Jordan’s aptly titled Marlowe (2023). Unlike previous movie adaptations, the plot of Marlowe isn’t taken from one of Chandler’s novels, instead being an adaptation of The Black Eyed Blonde by John Banville, written under the pseudonym Benjamin Black.
Opening in the late 1930’s, down on his luck P.I. Philip Marlowe (Liam Neeson) is hired to find the missing lover of beautiful heiress Clare Cavendish (Diane Kruger). What initially seems like an open and shut case opens up a can of worms that finds Marlowe up to his neck in dead bodies and coming face to face with crime boss Floyd Hanson (Danny Huston).
Typically for Marlowe, it’s not clear who he can trust and before he can solve the mystery of Cavendish’s lovers disappearance he will find himself involved in a conspiracy that has far reaching consequences.
Amazingly, Marlowe is the first theatrical movie to feature the character since the disappointing The Big Sleep (1978), which other than another fine turn from Robert Mitchum was let down by the sheer ineptitude of director Michael Winner. It could be argued that the enjoyable Poodle Springs (1998) should be included, where screen Legend James Cann took on the mantle of the legendary private eye. However, this was made for television, which unfortunately takes it out of consideration. The same would be true of ABC’s attempts to revive the character in 2007, where Jason O Mara portrayed the character in a modern day set pilot. No offence to O Mara, but thankfully this was never picked up to series.
Marlowe is a bit different than your typical Liam Neeson vehicle, with less of a focus on action than his more recent output. He still plays the tough guy, but Marlowe is very different from Takens (2007) Brian Mills. Sure he can dish out the punishment when required but he is in no way the unstoppable killing machine, with him having an air of vulnerability to him. In fact, although there is still the odd punch up here and there accompanied with some gunplay, this is one of the less action heavy roles Neeson has done in some time, and in some regards is all the better for it.
I would be interested in knowing what those people who thought Mitchum was too old for the role back in the day would think of Nesson’s casting. To put it into perspective, Mitchum was 58 at the time whereas Neeson is now 70. Unlike Mitchum, Nesson doesn’t really look his age and could realistically shave ten years off his character and still be believable. Still, it is clear that he is getting on in years, with him being slightly stiff in the joints these days. Even so, he is still 100 percent believable as a cinematic tough guy and realistically kicks ass whe the time calls for it.
Marlowe doesn’t much call for Neeson to stretch himself as an actor, but he still brings his A game and can comfortably sit amongst previous Marlowe actors, even if he won’t ever overshadow them. No one watching his performance here will think him better than Bogart, but this is in no way a slight, rather just proving how hard an act Bogart is to follow.
Neeson appears more invested here, with this in my opinion being his most enjoyable film since Cold Pursuit (2019). Perhaps this is due to the fact that Marlowe reunites him with director Neil Jordan who he previously collaborated with on High Spirits (1988), Michael Collins (1996) and Breakfast on Pluto (2005).
Marlowe is a more mainstream affair than their previous collaborations but isn’t the worst for it. While it doesn’t hit the lofty heights of Michael Collins it is certainly a more rewarding experience than either High Spirits or Breakfast on Pluto.
Jordan is no stranger to the crime genre, doing excellent work in the past with classics like Mona Lisa (1986) and the controversial The Crying Game (1992). I was especially impressed with his remake of John Pierre Melville’s Bob le flambeur (1995), which he redone as The Good Thief (2002) a terrific crime thriller bolstered by a typically excellent turn from lead Nick Nolte.
Like the majority of Jordan films, Marlowe is visually stunning. I have noted some online complaining that the film’s look was hampered by the fact that it was shot in Spain, but unless you were told I can’t see how you would be able to tell. The production design is fantastic with costumes, vehicles etc. all looking suitably realistic and suitable for the time period. Perhaps those from Los Angeles may be able to tell but this Scotsman was in no way taken out of the material due to the setting.
Jordan has made a suitably old fashioned detective yarn, although the inclusion of some gratuitous violence is definitely more in vein of what 21st Century audiences have come to expect. One particularly gruesome murder scene will have some turn away in disgust. It is the type of scene that past Marlowe directors such as Howard Hawks or Dick Powell could only have dreamed of. To be honest, it’s the first time in years that I have actually felt that it was unnecessary, with the implication being strong enough. There is no real reason to show this and doesn’t add much to the story other than shock value, something the classic Marlowe mysteries of old never needed.
This doesn’t get in the way of one's enjoyment, but it is the type of inclusion I could see turning off older viewers who grew up on the film noir classics of old. At least everything else is the type of thing you would expect in a Marlowe tale, with an ever winding plot and duplicitous femme fatale’s. Diane Kruger’s Clare Cavendish is slightly more sympathetic than your usual femme fatale but she still comes across well as the cold blonde beloved of the genre.
Jessica Lange seems to be channelling her inner Gloria Swanson as the slightly crazy Dorothy Quincannon, whose real motives are never truly clear. There's also the great Danny Huston who appears to be emulating his father John Huston’s character from Chinatown (1974), with his crime boss being an especially slippery customer.
Even smaller roles are filled by a range of quality performers who make their characters more interesting just by their involvement. Ian Hart and Colm Meaney are always welcome presences and share good chemistry with Neeson as old Police colleagues. Then there’s Adewale Akinnuoye-Agbaje who comes into the film late in the day but manages to steal what little screen time he is given.
Sure, the mystery aspect isn’t perhaps up to the same standards of Chandler’s own Marlowe novels, but it’s still interesting and works as an interesting commentary on old (or new) Hollywood. The one thing that I did feel was missing was the witty dialogue included in previous Marlowe tales. It’s not that the script is poorly written, as it's from The Departed (2006) screenwriter William Monahan, but I was surprised how it was mostly lacking in humour.
Apparently Marlowe marks Liam Neeson’s 100th film. As much as I enjoyed it, I can’t see it making much difference to his career. Partly this is to do with how the film's release has been dealt with, but also it has to do with what most people who view Liam Neeson films expect from him. Some may be disappointed that this one isn’t an out and out actioner and be disappointed with the little amount that is included here.
Even so, I would hope people would still give the film a chance as it's the type of movie that isn’t really made that much these days, and it would be great for there to be other Marlowe films on the horizon.
Rating: 3.5/5
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