After watching Shortcuts which I like a lot a few weeks ago, I went on with The Long Goodbye. What annoyed me is the images of female nudity within the later one. I am not against nudity at all, since I enjoy watching Shortcuts, a film with naked/half-naked female bodies displayed everywhere. I just can't see any reason why the scenes of nudity are necessary for The Long Goodbye. It didn't make any difference for the plot if a group of next-door girls are half-naked or not, nor was it helpful to any aspects of the film, thus it didn't make any sense for Altman using images like that. Anyone agrees?
To heighten the sense of displacement for a Marlowe who wakes up in the wrong decade... and to strongly accentuate the departure from the classic novels/films for the viewer?
A chorus whose ironic intent lies in it not being a chorus.
This is how this film works. Irony that isn't irony. Deconstruction that doesn't understand what it's deconstructing. Demytholgising a myth that the original had already neatly demythologised.
The skill of the original author so greatly exceeds the skill of his updaters and improvisers that they chip away the essentials along with the surface and you just end up with new mist, new shadows.
The film it most resembles is Patricia Rozema's Mansfield Park. Academics have written PhD's on why the original text should not be 'privileged' in modern adaptation and based them on that film. There is a strong and active coterie of intelligent critics who think it leads the way to a new and exciting approach to the understanding of core texts.
Nah. Top 20 20C American novelists. Top 3 if you're going by influence on other writers. Still in the top 20 even if you call him English (grew up in England, went to Public School with P G Wodehouse, worked in the Admiralty with Ian Fleming, served in a Canadian Regiment in WW1, Evelyn Waugh was his biggest fan and he lived a large part of his life as an English citizen).
Brackett is good enough to clean his shoes, which is about what he's doing in this film.
The best writing in English today is done by Americans, but not in any purist tradition. They have roughed the language around as Shakespeare did and done it the violence of melodrama and the press box. They have knocked over tombs and sneered at the dead. Which is as it should be. There are too many dead men and there is too much talk about them.
Chandler revolutionised American prose by combining Waugh's gift for precision and Wodehouse's crisp ironic tremolo with an exclusively American vocabulary and almost every American writer since has drawn on his achievement.
Brackett's a hack. A damn good one, but a hack. Altman's a flaky genius. The Long Goodbye is a joint misfire.
She was also one of the writers credited for The Big Sleep script--the Bogie and Bacall one. And she wrote an early version of the script for The Empire Strikes Back.
Brackett knew her Chandler mythos and she was no hack. She was one of the best screenwriters of Golden Age Hollywood.
Chandler's incredible, and there is this odd thing about, at least, Brackett's script that feels like it's trying to revise a genre that Chandler already figured out how to revise. I'm with you there.
But I also think this is a tremendous film. Because it works as Altman's take on Marlowe and Chandler. The shift to the 70s is key. I think it's irreverent, but I don't buy that it does much violence to one of my favourite novels. It's not a vicious attack on the novel, as some people seem to take it to be.
Choruses usually contribute something more substantial than naked bosoms [. . .] However, these naked bosoms are an attempt at an alienation device [. . .]
alfa-16: Just out of curiosity, how old are you? And where are you from? I don't think I've heard anyone use the term "bosoms" in well over thirty years.
(I have heard the humorous distortion "bazooms" more recently, but that's not quite the same thing.)
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The opening scene where he fusses over his cat was the most boring part of the movie. I am glad I had the patience to sit through that. The movie is not bad otherwise.
Well, the chorus angle would have been as valid without the nudity. I don't think this question deserves in-depth analysis, as the plain and simple fact is that it all boils down to the appeal of feminine nudity. Since Altman has usually squeezed in nudity in his films when the nudity was far from integral to the story, he was obviously a man who appreciated the female form, and may the lord bless him for that.
(Although there is argument to be made that there is some reason for these neighbor women to exhibit nudity, because it adds to interesting character. These women were sort of bubble-headed, Los Angeles New Age types, who would feel free and unashamed -- simple character enhancement.)
I get a kick out of people who raise such issues, telling us that they were annoyed or offended by nudity, while usually making sure to add that they are also cool, and that nudity does not ordinarily bother them. It's kind of a license to let us know that they are "normal," so, no, they are not Bible-thumpers or anything of the sort, and yet they somehow possess superior moral values to let us know the smut has gone just too far.
The points to bear in mind are that nudity does not equal pornography, as much as too many people from a sexually repressed society are brainwashed into believing otherwise. (Pornography's sole purpose is to elicit our prurient interests with no other redeeming value; that is, porn exists only to turn us on. On the other hand, only the most adolescent among us would get seriously excited by basic nudity. The usual response to nudity on its own is, if the nude models are attractive enough, hey, that's nice... naked girls. Aesthetically pleasing imagery that produces good, life-affirming feelings, such as the photographs in Playboy, unlike the beast-unleashing hardcore in, say, Hustler. Anyone who has been on a nude beach for more than five minutes is quick to understand that those who see nudity as dirty are the ones with the dirty minds.)
So why would the quick glimpses of the semi-clothed pretty ladies in THE LONG GOODBYE even be a matter for discussion? Even if the nudity is completely gratuitous, what is so wrong about that? Does such nudity cause any harm, other than offending the tender sensibilities of those conditioned to believe that such bare depictions involve a quick trip to the playground of Satan?
(Let us bear in mind that these positive feelings often come about strictly via female nudity. For example, later in THE LONG GOODBYE, the bad guy forces the men to remove their clothing. Even though we are offered an example of the male body beautiful, in the form of Arnold Schwarzenegger, the reaction of the majority of viewers -- even most heterosexual women -- is going to be, so what? Male nudity will only evoke a response if the imagery gets explicit, especially if we are offered the sight of male genitalia, which would enter intolerable territory.)
Frankly, I think it is a shame that the gratuitous nudity of 1970s films, films where the lead actresses were often expected to shed their outerwear, is a thing of the past. This is a testimony to the power of the conservative times we have been subjected to. values that have been so absorbed that even the supposedly rebellious younger generation is quick to offer criticism, offering them a shot at being "moralists," while not thinking that the hurt feelings they express only serve to encourage the forces of censorship. It is all very unhealthy, and all very sad.
Which are the examples of gratuitous nudity in Altman´s films that you´re talking about? The only instance that I recall from top of my head would be the pantyless waitress in the beginning of California Split where it was (apparently) there only to create a jarring effect. On the other hand, the nudity in The Player as well as in Short Cuts was definitely integral and thematically relevant.
What IS the story of Nashville, anyway? The answer´s of course is that there´s a whole bunch of stories going on all the time. And I don´t think the striptease there was entirely gratuitous, but rather illustrative of the toughness & cruelty of the showbiz scene - if you don´t cut it on stage singing, you´re gonna do a different manner of entertainment on decidedly lower levels. Either way, you´re taken advantage of. So what better way to communicate the vulnerability of a downgraded performer than have her undress in front of all that folk demanding to be entertained one way or the other.
Looks as though most viewers have completely missed the point of the young neighbor girls in various states of undress. It is certainly not gratuitous on the part of Altman.
Notice that Marlowe, unlike the cheap hood that was assigned to tail him, never pays any attention to them whatsoever. It's as if they don't exist in Marlowe's world because in his own reality, they don't. Marlowe is an early Fifties private eye that has awoken at a point in history that is foreign to him. His attitude towards his young neighbors displays his alienation.
Personally however, the 70's was the last decade of having fun in America, especially after Nixon was forced to go away. Then along came Reagan and his crew. Look where we are now.
It's kind of a license to let us know that they are "normal," so, no, they are not Bible-thumpers or anything of the sort
Speaking of "Bible-thumpers," i.e. people who enjoy reading the Bible, it's obvious that you're not one since you're clearly not familiar with it, including Solomon's Song of Songs, which is only eight chapters in verse and can be cursorily read in like 15 minutes. Check it out and get back to us. Here's a readily available online copy: https://biblescripture.net/Song.html reply share
The big picture: No alienation is going on. As say, just because there's a car in the background in some scenes, and Marlowe don’t make a revving sound with his lips like a car engine to emotionally affirm the car’s purpose, doesn’t mean he’s alienated from the idea of automobile transport. The alienation notion, while commonly espoused these days, is being confused with not trying or not wanting to understand the environment as portrayed on screen by the viewer. As I see it as it pertains to the subject of these posts: The women are comfortable being who they want to be around Marlowe. And Marlowe isn’t psychotic and doesn’t live his life thinking everything is an emotional reflection as to who he is or a response to his actions. I dig.
Also, I wish I could look at the whole picture in every movie like I do in Altman’s films. Seeing “Nashville” for the first time on the big screen recently: heaven! As I love roaming around the screen! And I do in other movies; but nothing is there, or it’s like are going for some mood, like it’s raining or not lighted correctly, so it’s dark mood time, hey get ready for dark actions! As if mood means something. And now most movies appear to be more like the director’s demo reel to one day set up the Showcase Showdown on The Price is Right. I have to look at the ceilings of the theatre during most of the movie it’s so gaudily suffocating. All those fans I’ve looked at over the years, slowly spinning...sheesh kabob.
As say, just because there's a car in the background in some scenes, and Marlowe don’t make a revving sound with his lips like a car engine to emotionally affirm the car’s purpose, doesn’t mean he’s alienated from the idea of automobile transport.
Did you look up alienation in the glossary of Popular Mechanics, by any chance?
The Naked Women are there to emphasise Marlowe's dislocation and separation from the mad, bad swinging sixties. While the rest of the cast and the audience is going gaga about naked women on the balcony, Marlowe is calmly detached and undistracted. The women are, of course, doing it to be admired and attract the attention that Marlowe withholds, though they may just have smoked one too many like the rest of the cast and crew.
In any case, separating Marlowe from his surroundings - alienation - is what is behind the idea. It was a buzzword back then. Everyone was at it.
All of it: the strange Popular Mechanics joke; your misread of what alienation is; your confusion over who Altman was; and especially what Leigh Brackett did with the material by respecting it, not patronizing it, by truly adapting it.
At least, for your sake, if you’re going to say something like this again: “Brackett is good enough to clean his shoes, which is about what he's doing in this film.” Get it right that it’s she, as in, Ms. Brackett. Granted Howard Hawks gave her praise of the sort: "She wrote 'The Big Sleep' like a man. She writes good." But still, for the future it will give your thoughts the chance of being taken seriously...by someone. And that’s okay with me.
You're clearly not clued into any Big Picture and as your first infantile attempt illustrates, you don't know what alienation is.
Leight Brackett and Robert Altman produced an incarnation doing things that are off the scale of what is recognisably Marlowe, compounding the fractured picture by casting a sparsely talented actor incapable of stepping outside his own limited schtick. Recognising this, I think Altman is actually taking the piss, casting Gould as himself in Nashville.
Nothing looks either connected or right. That isn't adapting. That's failing to get on the wavelength.
I prefer the "time displacement" explanation. Let's not forget that this film was made during the height of the 70's sexual revolution, and it takes place at the forefront of that revolution: California. I always saw the naked ladies as a byproduct of the hippie culture of the times, living free in mind and body and such. Altman had a penchant for accentuating the absurd, and the stark contrast between Marlowe's grubby life and these new age girls was striking, and probably all that Altman was going for. Remember, Altman was re-envisioning all the major genre films at this time, and part of that re-envisioning was to give screen time to the various characters of society as they then existed.
This time I found it significant that the cat left in the direction of the women. I'm suspicious that one of his descendants got a job on the Nostromo. Notice also that Marty Augustine's moll leaves in a far worse state than the cat (despite wearing clothes that resemble the jinner) or Terry Lennox. Later of course Terry gets his goodbye even more peremptorily than the moll. The cops get out of his flat all right, apart from the feigned injury. Is this something to do with cats and dogs?
Marlon, Claudia and Dimby the cats 1989-2005, 2007 and 2010.
Which are the examples of gratuitous nudity in Altman´s films that you´re talking about? The only instance that I recall from top of my head would be the pantyless waitress in the beginning of California Split where it was (apparently) there only to create a jarring effect. On the other hand, the nudity in The Player as well as in Short Cuts was definitely integral and thematically relevant.
There were many scenes in the film that actually had nothing to do with the main plot. At least the scenes with the women next door had something interesting in them to see.
"My name is Paikea Apirana, and I come from a long line of chiefs stretching all the way back to the Whale Rider."
I can't believe, in this day & age, someone would be so coy and prudish about women's breasts - especially since naked, yogurt-eating yoga practioners perfectly represent the flakey California image of that age (not that much has changed in 40 years). The OP's protest is just childish.