Omnibus: A Portrait of Raymond Chandler

chandler1.jpg

The full title of this BBC documentary is Down These Mean Streets a Man Must Go: A Portrait of Raymond Chandler. The film was broadcast in 1969, ten years after Chandler’s death, and has been on iPlayer recently to judge by the logo in the corner, but it’s not one I’d seen before. It would have been ideal viewing a couple of years ago during my attempt to watch all the films listed in The Big Noir Book. While working my way through the film list I was also reading some of Dashiell Hammett’s novels (The Maltese Falcon is excellent; The Dain Curse is terrible) and all of Raymond Chandler’s novels. Or almost all…I didn’t read Poodle Springs, his final book, left unfinished then completed by other hands. I enjoyed the Philip Marlowe novels so much I was tempted to start them all over again after I’d reached the end of Playback. Added to the enjoyment was the opportunity to see how much the books were mauled when they passed through the Hollywood mill. The BBC documentary opens with a clip from The Big Sleep which has always been the best of the adaptations (it can be difficult getting Humphrey Bogart out of your head when you’re reading Philip Marlowe’s narration) but even this one alters the story while downplaying the sexual content (homosexuality and pornography in the novel), something that all the films of the 40s do their best to avoid.

chandler2.jpg

A Portrait of Raymond Chandler was written by John Foster and Fred Burnley who present the writer via his own words in a sequence of dramatised interviews and enactments of scenes from the novels. There’s also a brief interview with JB Priestley, an intriguing thing in itself as I’d no idea that Priestley knew Chandler. The enactments don’t work very well—all the very small and very English rooms look nothing like Los Angeles architecture—but Edward Judd makes a decent attempt to apply his hard-boiled manner to the detective role without any Bogart impersonations. Judd appeared throughout the 60s in a succession of science-fiction films, and the film works best when he’s reading from the novels. Omnibus used him for the voiceovers a few years later in another portrait of a writer, Fear and Loathing in Gonzovision, a film about Hunter S. Thompson. The Chandler documentary appeared just ahead of the wave of renewed Hollywood interest in the Marlowe books that broke in the 1970s. Among the film clips there’s a short scene from the soon-to-be-released Marlowe, an updated adaptation of The Little Sister which isn’t one of the best Marlowe films but it has some nice interior shots of the Bradbury Building, and you get to see Bruce Lee demolish James Garner’s office with his feet and fists.

Previously on { feuilleton }
The Big Noir Book, or 300 films and counting…

Weekend links 476

kimura.jpg

Man’s body dish for Sashimi under the cherry blossom (2005) by Ryoko Kimura.

• Godley & Creme’s Consequences (1977) is reissued this month on CD and vinyl. Originally a three-disc concept album with a theme of climate disaster and the natural world’s revenge on humanity, Consequences was released at a time when punk and prog rock were fighting for the attention of music listeners. 1977 wasn’t the end of prog by any means (many of the vilified bands had some of their greatest successes at this time) but Godley & Creme’s transition from the smart pop songs of 10cc to extended instrumental suites was abrupt, and their concept, such as it was, lacked the drama and accessibility of Jeff Wayne’s The War of the Worlds, even with the addition of Peter Cook providing a multi-voice comic narrative between the musical pieces. (Kevin Godley ruefully referred to the album in later years as Con Sequences.) The album flopped, and has been a cult item ever since.

• “A word of caution, though. Once you do read it, it’s hard to let it go.” Philip Hoare on Herman Melville and Moby-Dick. Related: William T. Vollmann on how a voyage to French Polynesia set Herman Melville on the course to write Moby-Dick.

Samm Deighan on The “Faraway Forest” in Peter Strickland’s Katalin Varga, The Duke of Burgundy, and The Cobbler’s Lot.

Brian Eno, Roger Eno, and Daniel Lanois discuss the recording of Apollo: Atmospheres & Soundtracks.

John Boardley on the first fashion books, Renaissance pixel fonts and the invention of graph paper.

Melanie Xulu looks back at a time where major labels were releasing witchcraft rituals.

• “Tom Phillips’ A Humument is a completely novel project,” says Rachel Hawley.

John Foster on the evolution of Stereolab’s analogue-inspired record sleeves.

• At Dennis Cooper’s: a history of le Grand Guignol by Agnes Peirron.

Casey Rae on William S. Burroughs and the cult of rock’n’roll.

• An Austin Osman Spare image archive.

Consequences (1965) by John Coltrane | Moby Dick (1969) by Led Zeppelin | Consequence (1995) by Paul Schütze

Weekend links 161

descent.jpg

My friend James Marriott died last year. He was 39. His final book, The Descent, a study of Neil Marshall’s acclaimed horror film, is launched on Friday at the Cube Microplex in Bristol. The book is published by Auteur, a UK imprint, in their Devil’s Advocates series. James was finishing the book a year ago this month, and sent me a late draft for comments. In addition to examining Marshall’s film in detail he also looks at its sequel and explores the micro-genre of cavern-oriented horror. When it came to literature James preferred Robert Aickman and Thomas Ligotti; he enjoyed their cinematic equivalents too but he also had a great appetite for horror films of any description, and would happily wade through hours of giallo trash in the hope of finding something worthwhile. I miss our long, digressive email exchanges, and the opportunity they afforded to swap new discoveries.

• “For artists not working in digital media — those who cut, build, draw, paint, glue, bend, and make things in the more traditional manner — there is something of a ‘Surrealist’ popularity at hand today,” says John Foster.

• At Open Culture: Duke Ellington’s Symphony in Black starring a 19-year-old Billie Holiday, and Nina Simone performs six songs on The Sound of Soul (1968).

• I’m not remotely interested in Baz Luhrman’s latest but I do like the Art Deco graphics and logos created by Like Minded Studio for The Great Gatsby.

Alejandro Jodorowsky: “I am not mad. I am trying to heal my soul”

• The Clang of the Yankee Reaper: Van Dyke Parks interviewed.

• A 45-minute horror soundtrack mix by Spencer Hickman.

• At But Does It Float: Album art by Robert Beatty.

Topological Marvel: The Klein Bottle in Art

Anne Billson on The Art of the Voiceover.

Soviet board-games, 1920–1938

A Brief History of Robot Birds

Le Chemin De La Descente (1970) by Cameleon | Descent Into New York (1981) by John Carpenter | The Descent (1985) by Helios Creed