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Philip Marlowe (/ ˈ m ɑːr l oʊ / MAR-loh) is a fictional character created by Raymond Chandler who was characteristic of the hardboiled crime fiction genre. The genre originated in the 1920s, notably in Black Mask magazine, in which Dashiell Hammett 's The Continental Op and Sam Spade first appeared.
Christopher Marlowe, a re-enactment of Marlowe's life and death starring Stan Geverts as Marlowe, was broadcast on the Municipal Broadcasting System on October 11, 1950. [41] The Christopher Marlowe Mysteries, written by Ged Parsons and starring Dominic Jephcott as Marlowe, was a four-episode BBC Radio 4 series, first broadcast in 2007. [42] [43]
They are often popularized as individual characters rather than parts of the fictional work in which they appear. Stories involving individual detectives are well-suited to dramatic presentation, resulting in many popular theatre, television, and film characters. The first famous detective in fiction was Edgar Allan Poe's C. Auguste Dupin. [1]
In 2003, AFI named Philip Marlowe the 32nd greatest hero in film. [21] The film placed 202nd on the 2012 Sight & Sound critics' poll of the greatest films ever made and also received two directors' votes. [22] The Japanese filmmaker Akira Kurosawa cited The Big Sleep as one of his 100 favorite films. [23]
Perhaps this is due equally to a pedestrian adaptation of Mr. Chandler's novel, The High Window, to the plodding and conventional direction accorded the film by John Brahm, and to the lack of conviction in George Montgomery's interpretation of Marlowe." [16] Film critic Dennis Schwartz, on the other hand, liked the film and wrote, "A film noir ...
Neeson and director Neil Jordan watched a series of noir films to prepare for “Marlowe,” particularly those adapted from Chandler’s work like 1946’s “The Big Sleep” and 1973’s “The ...
Films featuring the fictional private detective Philip Marlowe, created by Raymond Chandler. Pages in category "Philip Marlowe films" The following 10 pages are in this category, out of 10 total.
The movie received a terribly negative review in The New York Times, Renata Adler criticizing the adaptation of the text ("the play has been quite badly cut"), Burton's performance ("he seems happiest shouting in Latin, or in Ms. Taylor's ear"), the score ("some horrible electronic Wagnerian theme music"), and Taylor's role ("in this last role ...