Marlowe is directed by Paul Bogart and adapted to screenplay by Stirling Silliphant from the novel The Little Sister written by Raymond Chandler. It stars James Garner, Gayle Hunnicut, Carroll O'Connor and Rita Moreno. Music is by Peter Matz and cinematography by William H. Daniels.Los Angeles private detective Philip Marlow (Garner) is working on what he thinks is a simple missing persons case, how wrong he is!Q as in Quintessential - U as in Uninhibited - E as in Extrasensory - S as in Subliminal - T as in Toots!Another of the interpretations for the great Chandler creation of Philip Marlowe, unsurprisingly met with mixed notices - just as all the others have done. You do wonder what Chandler would have made of the role portrayals that came out post his death? I like to think he very much would have enjoyed Garner's take, because this Marlowe is a quip happy wise guy, unflappable and cool, he portrays so much with just a glance, and the girls love him.The story is juicy in its little complexities, spinning Marlowe into muddy waters the further he investigates things. His life is always under threat, be it by serial ice-pick users or Asian martial artists (Bruce Lee no less in a nutty couple of scenes) wishing to inflict death, or of arrest by an increasingly frustrated police force. Bogart and Daniels keep the whole thing stylish looking, with film noir camera tricks and colour photography infusing the period details. While the supporting cast, notably the ladies, give Garner some splendid support.It's a different Marlowe for sure, but a thoroughly engaging and entertaining one. 7/10

This stylish detective flick is reminiscent of Humphrey Bogart in the Maltese Falcon. I thought that the pacing and suspense of this movie were excellent. Also, be on the lookout for a handsome BRUCE LEE as Winslow Wong, one of the bad guy's hired heavies. Bruce's death scene is very unrealistic, but since so much of the debate around Bruce Lee today focuses on how he would do in MMA competition, it is worth remembering how intimidating Bruce would be if he had a bad attitude around normal people. Overall, I would say that this film is a good bridge for Garner's career between MAVERICK and THE ROCKFORD FILES.RIP Mr. James Garner

Sometimes it seems the 60s was the Lost Decade for movies. The best product from Hollywood was probably produced in the 30s and 40s. By the 50s, post war, the only market Hollywood cared about was the teenage market, and the product (ugh) reflected that priority. By the 70s we began to see the return of some form of minimum standardization, not great, but there was greatness here and there. Which leaves the 60s. Many 60 theatrical movies are indistinguishable from what what passed for "TV movies" in the 70s, utilized essentially the same actors, and the production standards could be easily surpassed any Lifetime movie of the current generation. Garner was essentially a TV guy, not a bad one, but, c'mon folks, give me a break here, the idea of him taking on the role that made Bogey (and other big names) famous is simply insanity. Insanity of the kind the the 60s was known for. Caroll OConnor steals every scene he is in. The plastic sets, the overloud music, the car scenes with blatant rear projection, the narrow ties and sport jackets .... the movie tries here and there, but never forms a cohesive whole. A lost movie for a lost decade.

Marlowe is hired by a little sister to find her missing brother, leading Marlowe into a thicket of crime in the upper-reaches of LA.The script's an adaptation of a Raymond Chandler novel, which means a convoluted plot, to say the least. But it's not the story that's the attraction, at least for me. Instead, it's the many entertaining touches. Of course, there's Bruce Lee redecorating Marlowe's office with his feet, coming at a time when karate was still an exotic import. That bit of business catches everyone's eye.But note Marlowe's incriminating little tete-a-tete with Orpha-Mae in the train station's snack bar. Now, director Bogart could have made it just a conventionally staged conversation. But he doesn't. Instead, he sticks a bystander between the two, who can't help but eavesdrop on the gruesome tale of murder that's being discussed. Note the bystander's low-key reactions. They're hilarious. She's just trying to eat her lunch and here she is in the middle of details to a killing, whether she likes it or not. Thus, a moment of exposition is expanded into an amusing bit of by-play. Or, on a different note, catch Marlowe entering an office, where it's not a conventional entrance. Instead, it's an office girl's shapely rear end that confronts Marlowe and us as he enters. In fact, the staging is both colorful and inventive throughout. It's a tribute, I think, to director Bogart, who's been elevated from the ranks of TV directors, and proves his stuff. Anyway, if you have trouble figuring out who did what to whom, don't feel alone. From what I read, Chandler didn't like tidy plots since reality itself doesn't come pre-packaged, or some such. So keep a scorecard handy. But streamlined or not, the movie's still an entertaining eyeful.