Directed by | |||
| Michael Winner | |||
Writing credits(in alphabetical order) | ||
| Raymond Chandler | novel | |
| Michael Winner | writer | |
Produced by | |||
| Jerry Bick | .... | producer | |
| Lew Grade | .... | executive producer | |
| Elliott Kastner | .... | producer | |
| Bernard Williams | .... | associate producer | |
| Bernard Williams | .... | line producer (as Bernie Williams) | |
| Michael Winner | .... | producer | |
Original Music by | |||
| Jerry Fielding | |||
Cinematography by | |||
| Robert Paynter | |||
Casting by | |||
| Maude Spector | |||
Production Design by | |||
| Harry Pottle | |||
Art Direction by | |||
| John Graysmark | |||
Costume Design by | |||
| Ron Beck | |||
Makeup Department | |||
| Stephanie Kaye | .... | hair stylist | |
| Richard Mills | .... | makeup artist | |
Production Management | |||
| Clifton Brandon | .... | production manager | |
| David Middlemas | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Michael Dryhurst | .... | assistant director | |
Art Department | |||
| Terry Wells | .... | stand-by property master (uncredited) | |
| Barry Wilkinson | .... | property master (uncredited) | |
Sound Department | |||
| Russ Hill | .... | sound editor | |
| Mike Le Mare | .... | sound editor | |
| Brian Marshall | .... | sound recordist | |
| John Poyner | .... | sound editor | |
| Hugh Strain | .... | sound re-recordist | |
| Steve Hancock | .... | dubbing projectionist (uncredited) | |
Camera and Electrical Department | |||
| Eddie Collins | .... | camera focus | |
| Keith Hamshere | .... | still photographer | |
| Ronnie Taylor | .... | camera operator | |
Editorial Department | |||
| Frederick Wilson | .... | supervising editor (uncredited) | |
Music Department | |||
| Dan Wallin | .... | scoring mixer (uncredited) | |
Other crew | |||
| Pamela Carlton | .... | continuity | |
| Denis Holt | .... | production executive | |
| Roy Beck | .... | lead stand-in (uncredited) | |
| Matthew Binns | .... | production runner (uncredited) | |
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| News articles | IMDb Crime section | IMDb UK section |
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You may regard the 1946 version as a classic because of the Bogart-Bacall pairing. As a literary adaptation, this version, however, is much better.
First of all, the plot stays true to the novel, whereas the older version had a plot ruined by the restrictions of the Hayes code, so that it contains numerous loose ends and unexplained developments.
Secondly, Robert Mitchum impersonates Marlowe much better that Humphrey Bogart. Bogart essentially recycles his role of Sam Spade in "The Maltese Falcon". Yet, Spade and Marlowe are very different characters. While Spade is a cynic who just barely remembers the remnants of morality (and Bogart is brilliant in that role), Marlowe is way beyond that point. He walks around people in a distanced, almost detached way. Only when he spots a glimpse of humanity in his fellow men, he is willing to engage himself (as with General Sternwood in "The Big Sleep"). Mitchum plays this character with great understatement, as it should be done, while Bogart makes Marlowe just another hard-boiled detective, which could be replaced by any other one.
Finally, both Sarah Miles and Candy Clark (while not being necessarily great actresses) bring over the lunacy of the Sternwood daughters beautifully. While the scenes between Bacall and Bogart a great, they are out of place in this plot, in which there is no place left for romance. It might have been appropriate for the characters of Marlowe and Linda Loring in "The Long Goodbye", but hardly in a movie adaption of a novel, in which Marlowe remarks "both Sternwood women were giving him hell".
So, while this movie transfers the plot to another time and another place, it is a much better adaption of the novel than the version often regarded as a classic.