A Comparison of Two Versions of The Big Sleep

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A Comparison of Two Versions of The Big Sleep

The Production Code attempted to censor sex and violence in film of the 1930's and 40's. Instead of impairing, it encouraged directors to use artistic ideas and integrity to surpass the viewers' expectations -- actively involving them in the film despite Hollywood's censorship. Howard Hawks is one such director who used the restrictions of the Production Code to his advantage. His screen adaptation of the Raymond Chandler novel The Big Sleep portrays the same amount of sexuality and violence apparent in the written word, using a distinctly subtle style, which develops broader themes. Comparisons with the extremely dull 70's remake by Michael Winner further suggest the superiority of Hawks' film noir. While Hawks masterfully creates an original world of sexuality and suspense, Winner unsuccessfully focuses on violent and sexual images in a vain attempt at filmmaking.

There is not a trace of nudity in Hawks' The Big Sleep, yet it thrives on sex. The viewer will not catch a glimpse of a buttock, nipple nor a whole breast. This scarcity of skin is attributed to the superb screenplay writers Leigh Brackett, William Faulkner and Jules Furthman. They depict a charming Marlowe, played by Humphrey Bogart, interacting with various frisky femmes exhibiting innuendo that brilliantly illuminates the screen.

Marlowe and the Acme Bookstore clerk flirt with an elegance even the slyest viewer would envy. The scholastic seductress flashes her beautiful eyes at him saying, "You begin to interest me, vaguely." Bogie's response -- "I'm a private dick on a case." With a loud, tumultuous clap of thunder, the audience sits bolt upright, anticipating the sultry shenanigans to ...

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...blood trickles down their faces. There is no cohesion between the death scenes; Eddie Mars does not die in this version, so there is no build up or statement made.

At a first glance, it is obvious that the two films, with 32 years between them, are quite different in style and theme. No matter when the film is viewed, Howard Hawks' film engages the audience presenting interesting themes in a sleek, stylistic fashion. His version may contain a limited amount of bare skin and violence, but proves that these inclusions are unnecessary if the film has voice and direction. To Winner, there is no direction or voice. He makes a hollow shell of a film extracting Chandler's exact scenes, harnessing the nudity and violence instead of the deeper themes that stand out in Hawks'.

Works Consulted:

Chandler, Raymond. The Big Sleep. New York: Random House, 1939.

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