Similes in The Big Sleep In response to Raymond Chandler's The Big Sleep, I have just one question. Why all the similes? There isn't a single page in the novel that doesn't display this annoying literary device. Everything is "like this" or "like that." It never ends! Similar to decoding a secret message that isn't difficult to understand, but nevertheless tiring due to the overwhelming amount of messages, the novel is frustrating to read. The following analysis acknowledges Chandler's
The Big Sleep - The Movie and The Book One would think that it would be quite easy to adapt a novel to a screenplay; after all, what is there to do but turn the dialogue into lines and description into set design? However, common sense, aided by the horrifying number of absolutely awful adaptations, dictates that it simply is not that easy. When moviegoers have problems with a film adaptation of a book, their complaints tend to lie in the tendency of the creators of the film to change elements
The Big Sleep Movie and Novel On first inspection of Raymond Chandler's novel, The Big Sleep, the reader discovers that the story unravels quickly through the narrative voice of Philip Marlowe, the detective hired by the Sternwood family of Los Angeles to solve a mystery for them. The mystery concerns the General Sternwood's young daughter, and a one Mr. A. G. Geiger. Upon digging for the answer to this puzzle placed before Marlowe for a mere fee of $25 dollars a day plus expenses, Marlowe
Use of Metaphor in The Big Sleep Raymond Chandler wrote The Big Sleep as a piece of hard boiled detective fiction. This style was a reaction to the high style of detective stories such as those involving Sherlock Holmes and Miss Marple. Writers often set hard boiled detective novels in a gritty world where everyone has a past. In The Big Sleep, Chandler keeps this edgy, lower class tone right down to the objects he utilizes for comparisons in his metaphors. Chandler is highly precise in
The Characters of Chandler's The Big Sleep The differences between the characters in Hawks' adaptation of Chandler's The Big Sleep and the novel are obvious to someone who has noticed the details on both. Of course there are positive and negative aspects to such choices which Hawks makes in his film and those decisions which Hawks made from novel to movie should be examined and questioned whether they helped or hindered the production of The Big Sleep. One of the major differences, and I
Raymond Chandler’s novel, The Big Sleep, depicts female characters in a rather different light. The setting of The Big Sleep also drastically differs from The Sign of Four, contributing to the differences in characterization of women. The Big Sleep is set in 1930s Los Angeles, during the Great Depression. The setting, described as a dangerous and grim city, aids to the portrayal of the troubling characters living in the city. Carmen Sternwood, daughter of General Sternwood and younger sister to Vivian
Treatment of Women in The Big Sleep, the Movie Version Often, we hear commentary about films that reading the book before watching the movie ruins the experience or that movies are never as good as the book on which it is based. The difference between forms is not as much about already knowing how the story ends as it is about the dumbing down of the work for a broader audience. However, Chandler wrote The Big Sleep as a piece of pulp fiction that was read by a large populace. So, with
Film Noir and the Hard-Boiled Detective Genre "Such a lot of guns around town and so few brains!" is a memorable line of Humphrey Bogart's Philip Marlowe in the 1946 adaptation of Raymond Chandler's The Big Sleep (The Big Sleep). That one quote encapsulates the presence of corruption, violence and even class distinction that is characteristic of film noir and the hard-boiled detective genre. The novel and the film both focus on Philip Marlowe, a private detective, during his investigative process
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
The Big Sleep: Movie vs. Novel Film and literature are two media forms that are so closely related, that we often forget there is a distinction between them. We often just view the movie as an extension of the book because most movies are based on novels or short stories. Because we are accustomed to this sequence of production, first the novel, then the motion picture, we often find ourselves making value judgments about a movie, based upon our feelings on the novel. It is this overlapping
Female Stereotypes and Stereotyping in The Big Sleep "Small and delicately put together . . ." (5). "Tall and rangy, strong looking . . ." (17). Chandler's descriptions of Carmen and Vivian, respectively, highlight his use or misuse of the typical female stereotypes in, The Big Sleep. From the initial physical description that Chandler gives, the reader can quickly see that the women are complete opposites. Carmen lacks color and does not appear to be healthy while Vivian is "worth a stare"
In the film version of The Big Sleep, Howard Hawks invents scenes and characters that do not appear in Raymond Chandler's novel. No rare bookstore trist, no rough and ready female cabdriver, no winking cigarette girl grace the pages of his book; Marlowe and Vivian never talk of horses; and Carmen's always naked. But not in the film. In the film, she wears clothes, Marlowe is a jockey, Vivian is a horse, and all these characters appear. Faulkner, Brackett, and Furthman write these elements
A Comparison of The Big Sleep and L.A. Confidential For this essay I have taken two films of a similar genre and style from two different cinematic periods and compared them against to attempt to highlight the similarities and differences that will inevitably be present. The two films I have chosen are ‘The Big Sleep’, made in 1946 with Humphrey Bogart and Lauren Bacall, and ‘L.A Confidential’, made 41 years later in 1997 - with a stellar cast including Kevin Spacey, Kim Basinger and Danny
The character Philip Marlowe from the novel, The Big Sleep by Raymond Chandler, is without a doubt the popular representation of the 1930s private investigator/detective. This character delivers his inner cynical monologue describing to the audience what he is doing and feeling throughout the novel. Marlowe’s inner mood creates a portrait of an outcast protagonist who wishes only to deliver results to the clients who hired him. While it is obvious that Philip Marlowe is portrayed as an outsider within
The Simplicity of Raymond Chandler's The Big Sleep Raymond Chandler would like us to believe that The Big Sleep is just another example of hard-boiled detective fiction. He would like readers to see Philip Marlowe, Vivian Regan, Carmen Sternwood, Eddie Mars, and the rest of the characters as either "good guys" or "bad guys" with no deeper meaning or symbolism to them. I found the book simple and easy to understand; the problem was that it was too easy, too simple. Then came one part that
The Big Sleep by Raymond Chandler and The Black Cat by Edgar Allen Poe both approach the theme of justice and present it in dissimilar ways. The Big Sleep presents justice as something which you can achieve through beliefs and morals, without the use of money and crime. The Black Cat presents justice as something which is absolute and something which you cannot escape psychologically, a force which is inevitable. In The Big Sleep, a conversation between Philip Marlowe and Vivien Sternwood is proceeding
subgenre of hard-boiled fiction. Marlowe is an independent private investigator hired to “snoop” for wealthy clients such as the Sternwood family in The Big Sleep. Chandler explores more of the psychological side of mystery, often leaving the active details out, to let the reader in as Marlowe walks through a case he is presented. In The Big Sleep, General Sternwood hires Marlowe to settle gambling debts accrued by his daughter, Carmen, but the General’s older daughter, Vivian, suspects her father
Raymond Chandler's Writing Style in The Big Sleep Unique writing style is definitely an essential element in any piece of writing, and Raymond Chandler uses his style efficiently in The Big Sleep. Chandler's style is one that seems to come easily to him and it also seems very natural to the reader, perhaps because there is not a lot of high, eloquent language. Rich in description and dialogue, the characters seem more realistic to the reader as a result of such details and natural speech
Raymond Chandler's Writing Techniques in The Big Sleep I sat at my desk, wondering what I could possibly write about The Big Sleep. I mean, there are so many possibilities. This guy, Raymond Chandler's writing style is so different from anything I have ever read before, that there are many things that I could talk about. I heard that Chandler once said, "I live for syntax!" It does not surprise me that he would say something along those lines. I mean, this writer is all over the page with
Raymond Chandler’s novel, The Big Sleep, is well-versed in descriptive language and makes one feel as though they are experiencing the occurred events firsthand. Through Philip Marlowe’s perspective the novel progresses in a manner that answers some questions of the mystery; however, as the truth unravels one realizes that not everything will be completely resolved. Through the usage of imagery, euphemism, and symbolism Chandler crafts an ending that solves the mystery, but creates a whole new one