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| Humphrey Bogart, Peter Lorre, Mary Astor, Sydney Greenstreet, “The Maltese Falcon” (1941). |
By Paul Parcellin
Private eyes, those lone rangers who traverse bleak urban landscapes, are romanticized in books, radio dramas and movies as upholders of right and wrong. They do the dirty work that the cops can’t or won’t touch. Often hired by those who are monied, corrupt, or both, they’re the go-to guys when it comes to cleaning up messes that the well heeled and their offspring leave in their wakes.
But reality clashes with the fictional representation of the private eye.
Some shamuses may be straight arrows, but few are Boy Scouts. In the 1930s-’40s, private detectives were apt to earn their bread and butter by spying on adulterers and snapping steamy photos that would turn up in divorce proceedings. Others were thugs for hire who busted heads to break up strikers’ picket lines — company men had no use for organized labor, you see.
Both crime fiction and movies of the 1940s paint a morally ambiguous but mostly favorable picture of the private sleuth. They are renegades, loners and upholders of justice in a world where, to quote crime novelist Jim Thompson, “Nothing is what it seems.”
They’re often weather-beaten men with shabby offices and thin bank accounts. The honest ones mostly live in cramped walk-ups. A couple have a penthouse and a country club membership, but it’s a cinch that dirty money pays for their luxuries.
Here’s the rundown on some noir private detectives — my favorites, not an exhaustive list, mind you — who work for the greater good, and a couple who never heard of the word “ethics”:
Many actors have played Philip Marlowe in adaptations of Raymond Chandler’s novels, but let’s stick with the two most prominent ones from the classic noir period, about 1940 to 1959.
In describing Marlowe and his world, Chandler notes that “down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid. He is the hero; he is everything.”
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| Lauren Bacall, Humphrey Bogart, “The Big Sleep.” |
“The Big Sleep” (1946)
First-time viewers may find the film's labyrinthine plot challenging. No matter. We're immersed in Philip Marlowe's world and wherever he goes we gladly follow. Then, there's the Bogart-Bacall chemistry — always a treat to behold.
Humphrey Bogart gives Marlowe a streetwise, working class persona. He went to college and worked in the district attorney’s office, parting ways due to his tendency toward insubordination and a dislike of red tape. He’s not above skirting the edge of the law when the situation calls for it, but strongly believes in an incorruptible code of ethics.
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| Dick Powell, Claire Trevor, "Murder, My Sweet." |
“Murder, My Sweet” (1944)
This adaptation of Chandler’s “Farewell, My Lovely” was retitled to avoid confusion. Dick Powell, who stars as Marlowe, was best known for musicals, and audiences might have thought it a romance or light comedy. Far be it from the truth. Marlowe is hired by ex-con Moose Malloy who is obsessed with finding his former girlfriend, Velma. Be careful what you wish for, Moose.
Powell plays Philip Marlowe with the air of a sophisticated wise guy who harbors an extreme reluctance to toe the line. He’s an outsider who doesn’t suffer fools and can’t bring himself to play ball with the big guys. The actor's background as a song and dance man shows through when on a whim he playfully skips across a kid’s chock-drawn hopscotch outline on the pavement — a move we could never picture Bogart making.
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| Jack Nicholson, "Chinatown." |
“Chinatown” (1974)
In 1930s Los Angeles, murder and corruption tarnish the city's pastel vistas. He who controls the water supply is king, and private eye Jake Gittes (Jack Nicholson) stumbles upon a scheme to grab land, money and natural resources from humble farmers.
Jake Gittes wants respect. He’s got a fancy wardrobe, — he’s dapper and vain — a swell office with a staff at his beck and call. But he ain’t respectable. Like the guy in the barber shop says, “You’ve got a hell of a way of making a living.” Jake sees the water scheme as a means to redeem his reputation. He’s a sleazy but successful detective who specializes in catching adulterers en flagrant. He wants to be the white knight who rescues a damsel in distress (Faye Dunaway), perhaps making up for another woman in his past whom he tried to help but ended up hurting. Add to that, he means to save the humble working people of Los Angeles from the clutches of evil men who would steal their land and their water rights. He overreaches and it gets him in trouble.
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| Jane Greer, Robert Mitchum, "Out of the Past." |
“Out of the Past” (1947)
We're doomed to repeat our mistakes, especially if Jane Greer is involved. In "Out of the Past,” gas station owner Jeff Bailey (Robert Mitchum) thinks he left his days of shady dealings behind. But gambler Whit Sterling (Kirk Douglas) thinks otherwise.
Jeff Bailey used to ply his trade as a shamus in New York, then dropped out of sight. By chance his past comes back to haunt him. He’s unlike real private detectives of that era. He doesn’t peep through open transoms or photograph adulterous couples in the heat of passion. He couldn’t abide by his employer, gambler Whit Sterling, but his weakness for the dangerous Kathie Moffat (Greer) proves to be more than he can resist. He wants to disappear, but he’s smitten with Kathie and will go down with the ship if he must. As the reluctant private eye forced out of retirement he’s about to be framed for murder. His respectable life in a small town is about to go up in flames. Yet he tells the scheming Kathie, “Baby, I don’t care.”
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| Ward Bond, Humphrey Bogart, Barton MacLane, "The Maltese Falcon." |
“The Maltese Falcon” (1941)
A motley gaggle of thieves and cutthroats enlist private investigator Sam Spade (Humphrey Bogart) to help locate a missing jewel encrusted statue, the "dingus," as Spade calls it. The search is an exercise in futility. The film itself? Exhilarating.
Sam Spade wants to protect the code of honor among private eyes everywhere. He needs to avenge his detective partner Miles Archer’s death even though he didn’t like him much. He messed around with Miles’s wife once — loyalty has its limits. Much of Dashiell Hammett’s book, on which the film is based, is taken nearly verbatim in the movie. But Bogart’s Samuel Spade isn’t as callous and ruthless as the one in the book. Spade is smooth and can pretend to be corrupt when it helps him take down the bad guys, all of whom want to hire him to do their bidding. But he’s a straight arrow who protects his clients, even when he doesn’t follow in their criminal ways.
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| Nick Dennis, Ralph Meeker, “Kiss Me Deadly.” |
“Kiss Me Deadly” (1955)
P.I. Mike Hammer (Ralph Meeker) roams Los Angeles with a suitcase full of hell fire. Mickey Spillane's blood and guts opus, transported from the grimy streets of New York to L.A., sees the city teetering on the brink of nuclear armageddon. And Hammer means to stop it.
Mike Hammer is the kind of private eye who doesn’t mind twisting an arm when vital information is being withheld. He’s sleeker and better looking than others in his field. He’s got a swank apartment, drives a Corvette and lives the lifestyle of James Bond. A crew of marauding gangsters is after a suitcase full of hot nuclear soup and Hammer finds himself in the middle of a mad scramble for the deadly stuff. It’s a detective story for a world living in the shadow of the H-bomb. The film received the condemnation of the U.S. Senate’s Kefauver Commission, which accused it of being "designed to ruin young viewers.”
Sounds like an endorsement to me.
