The Big Sleep and L.A. Confidential - Movie Review Example

The two films that will be the focus of this comparative analysis are “The Big Sleep” (1946), directed by Howard Hawks, and “L.A. Confidential” (1997) directed and co-written by Curtis Hanson. Both films have distinct parallels in being screen adaptations of novels, tackling the film noir genre. This analysis will undertake a comparative analysis of the films and evaluate the directorial, acting and cinematographic approach to a similar genre from different cinematic periods. Howard Hawks’ version of “The Big Sleep” was the first film version of Raymond Chandler’s novel, introducing the legendary screen character of detective Phillip Marlowe (played by Humphrey Bogart). Similarly, the brutality of James Elroy’s “L.A Confidential” is adapted for screen by Curtis Hanson with a distinct underlying homage to Bogart’s portrayal of life-weary detectives, which is further highlighted by the simultaneous portrayal of heightened, stark realism which was lacking from the classic film noir pictures pre-1950. The opening sequences and title scenes of both films play a vital role in engaging the audience and preparing the audience as to what to expect from the movie with great effect. L.A. Confidential begins with historical footage of a prosperous pre-1950s Los Angeles city in which the celebrated “American Dream” is symbolised through the narrative. This places the audience at ease, increasing a sense of dramatic irony through the ideological portrayal that the symbolic “American Dream” is easily attainable. However, the old footage depicting idyllic family life is slowly juxtaposed and interspersed “the underbelly of America” and the “city the politicians don’t want you to see”. As such, the contrast heightens the thought provoking intentions of Curtis Hanson on the audience. In utilising the old footage, Hanson directly takes the audience to the era of the “The Big Sleep” however the “The Big Sleep” itself takes a more subtle approach to the subversion of the ideological American Dream, with equal effect. The opening scene of “The Big Sleep” creates a sense of isolation, which directly engages with the audience, beginning with the vivid image of the silhouette of a man and a woman, both smoking and blowing away the opening credit titles. The visual image of the smoke increases the sense of mystery and symbolises the underlying concept of a smokescreen, hiding the reality underneath the “Big Sleep”. This further indicates two possibilities, which immediately creates suspense, thereby acting as an effective directorial tool of ensuring the audience is constantly asking questions. One possibility is that image depicts a love story to be developed and alternatively, the covering of the smoke symbolises the shrouded, mysterious and dangerous world of the story the audience is about to enter. Whilst using different tools, both films create an engaging atmosphere for the audience to hold onto for the rest of the film, thereby setting the scene. The first obvious reasons for the difference between the two films differ is the different cinematic periods. Moreover, in making “L.A. Confidential”, Hanson clearly has significant period of reference, which arguably renders “The Big Sleep” inherently more innovative at the outset as a result of being at the forefront of creating new genre within film at the time. Furthermore, audiences are now equipped with knowledge of that time, immediately having a sense of expectation of the film noir genre. Indeed, the introduction of the film noir genre with films such as “The Big Sleep” was innovative and popular for portraying a side of America that was not already portrayed by the news media and television. The media portrayed an idealistic vision of America however films such as “The Big Sleep”, “Key Largo” and “The Third Man” went beyond and challenged this ideal with a thought provoking subversion of the underworld that those in power were hiding. In contrast, “LA Confidential” counters the pre-existing knowledge and arguable saturation of this genre by utilising effective story telling techniques to maintain audience attention and to keep the film relevant as an important story. Firstly, Hanson uses a narrated introduction, which is effective in setting the pace and introducing an alternative take on an existing formula and story to a new audience. The soundtrack to each film is another effective device used by the directors of both films to create the atmosphere, which further involves and immerses the audience in the film. Indeed, “The Big Sleep” is further bolstered by Max Steiner’s film score, where the timing, tone and nuances of the music is carefully manipulated to highlight the tension, and nervousness or the happiness that Bogart’s character Marlowe in particular, is feeling at certain points. This in turn aids plot development and movement. Alternatively and just as effective are the scenes where there is no background music, and these are generally when there is one on one conversation and information crucial to the plot being divulged or when the director intends to hold the undivided attention of the audience. The use of sound in this manner further enables the audience to empathise with the actions and thoughts of the actors. Whilst, LA Confidential uses the film score in a similar way, the placement of particular songs also powerfully underlines the character’s feelings. For instance, when Bud White is in deep contemplation about Lyn Bracken the troubled heroine, Curtis Hanson decides that the most effective way to depict Bud’s feelings is without the use of dialect and to integrate a song with a chorus line of “yearning for love” instead. What is interesting about the way that the music is used is that we are constantly reminded of the era we are in by the selection of tracks from Dean Martin and Bernstein, which is effectively juxtaposed with constant use of brutal language and expletives. Moreover, Goldsmith’s film score uses similar techniques to Steiner to aid and heighten tension and plot development. The setting and location in both films are utilised to the same effect and same intentions in conveying the story to the audience. The Big Sleep provides numerous images of stark lonely scenes in deserted hideaways where the protagonist hides in the shadows and observes the enemy antagonist. The baron landscapes in this genre operate to further highlight the media manipulation of reality with continued portrayal of the symbolic American Ideal. However, it is arguable that the use of lonely scenes and baron landscapes is more effective than the portrayal of Bogart’s character in the real LA during the Big Sleep. It is arguable that if Bogart was seen running around the reality of LA In alluding to the reality rather than showing it heightens Bogart’s effectiveness as Marlowe. Alternatively, the Curtis Hanson film takes us to the decrepit and heavily segregated ghettos of the era to the isolated “interrogation” houses used for extracting information from criminals who refuse to talk. Other tools that are effective in trying to create a certain ambience are the lighting effect and the cinematography. As The Big Sleep is in black and white, it relies heavily on the use of high contrast of shadow and light and close up faces shots, to the complete engulfing of them in shadow as they escape a crime scene. There is little alteration in the types of shots as in the 1946 they did not have the technological advancements to achieve such angles captured in L.A. Confidential. Nevertheless, it is arguable that the technological advances in lighting and cinematography compensate for acting chops due to lack of reliance on such tools in The Big Sleep. For example, there are reels of reaction shots as Bogart’s character Marlowe has an idea or breakthrough or fits another piece to the puzzle and there are multitudes of middle shots presenting the on screen chemistry between Bogart and Bacall. Moreover, there are more collections of characters’ eye view shots, letting us know when Bogart has found some important information. However, the atmosphere is heightened by the spy shots and the shrouding of people’s faces by shadow, gives the real air of mystery and corruption. In contrast, L.A. Confidential has increased access to advanced cinematography, and there does not need to rely on the actors’ every move to hold the audience attention, which can nevertheless be just as effective in conveying the story. For example, L.A. Confidential utilises many cutaway shots and switches between the narratives to involve the audience directly in character development. There are still character eye view shots but they are now filmed in such a way that it genuinely appears as if the character is carrying out an action. For instance, during the scene where Edmund Exley walks into the bathroom of the night owl and sees a pile of corpses, there is a shot of what he would see, the camera moves and wobbles nauseously before cutting back to his face which has gone pale. As such, this highlights the point of Hanson’s film that whilst the essence of the story may be known to the audience, the manner in telling the story through film is altered, thereby reshaping the film noir genre for a contemporary audience. The lighting is then used to full effect as well, there is one shot outside the night owl when the reflection of the neon sign is reflected on Exley’s windscreen. Another prime example of lighting working in co-operation with camera angles to create a certain mood is when Wendell White stands over a suspect. The other major similarity between the films as that both films are set in the same period. As such, LA Confidential pays homage to films made around the mid 20th century. There is a lot of use of iconography which is common place in the Big Sleep, such as the clothing, the drinking and chain smoking, highlighting the cultural shifts in social conduct and acceptability. Moreover, the depiction of the characters in both films presents the popular storytelling technique of central character internal conflict. For example, the witty hero in The Big Sleep is Bogart’s character Marlow. Whilst he is a womaniser, sarcastic and hard drinking man the audience nevertheless connects with him because of his insecurities, which is further symbolised by the nervous twitching, making him human. He also tends to rub his ear when he gets worried or agitated and is constantly told by women that he is too short. This is the same for Bud White in L.A. Confidential, where the lack of idealism and violent nature is redeemed by his disdain of men who are abusive to women. The treatment of different ethnic and gender based groups is also prevalent in both films. In the Big Sleep there is a rare portrayal of women at the time through the portrayal of Lauren Bacall’s character Mrs Rutlidge, who is not shown as the hapless and unintelligent love interest of Bogart’s Marlowe. Indeed, Mrs Rutlidge’s character acts as a complete juxtaposition defying expectations of women of this era. She is the independent, quick witted and constantly matching Marlowe, which complements the pace of the plot development. There is a distinct parallel with LA Confidential, which whilst not making a direct statement about the time, highlights it through the portrayal of Mexicans and African Americans in the eyes of the law, which is pertinent to contemporary America. In conclusion, whilst The Big Sleep was clearly innovative in subverting the media’s representation of ideal America, L.A. Confidential demonstrates through its homage to the film noir genre how the issues brought to the fore in the Big Sleep are as relevant to contemporary America as it was in 1946. 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