Redundant and unnecessary.

Good movie, but best of all time? Hardly . . .

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

"The Big Sleep", re-located from 1940s Los Angeles to 1970s Britain. An impeccable cast cannot overcome the fact that this is really a rather lackluster production. It is not that this is a bad film. It is simply that, despite the color cinematography, this version comes off as pale and bland in comparison with Howard Hawk's superb black-and-white 1946 version.

A costly project with lots of star power, this re-make of The Big Sleep was doomed to failure from the start. Critics were honor-bound to compare any new version unfavorably with the original, but the re-make's demise became irremediably inevitable when Michael Winner decided to re-locate the story from 1940s Los Angeles to 1970s London! Nonetheless, this version is not only an interesting movie in its own right, but actually seems far more faithful to both the plot and mood of the Chandler novel.Admittedly, Mitchum is no Bogart, but is more the imperturbable, world-weary, snappy Marlowe that readers love, while Sarah Miles, Candy Clark and James Stewart are so close to the characters in the book as to make comparisons with Bacall and company irrelevant. Richard Boone is far more frightening as Canino, while Oliver Reed creams John Ridgely as Eddie Mars. John Mills has a tiny role as the equivalent of the Regis Toomey character, and Richard Todd an even smaller part as another Scotland Yard man. This movie also features striking photography and compelling sets, and it is available on an excellent 10/10 Geneon DVD.

WHENEVER A CLASSIC film is remade, a true classic that is, the producers are aware from the start that they will have opened that proverbial can of nails. Compatison, criticism and all sorts of charges of bloody murder are sure to follow.SO IT WAS with today's subject matter title in THE BIG SLEEP (ITC/Winkist/United Artists. 1978); but, in this case, it's not for reasons usually cited. This is our considered 'professional' opinion because the original version of THE BIG SLEEP (Warner Brothers, 1946), which featured Humphrey Bogart and young paramour/trophy wife, Miss Lauren Bacall, is very good, but never crosses that threshold into the very elite productions.WHILE IT TRULY had a lot of the potential that is required to be considered, those certain intangibles just weren't there. In short it is no CITIZEN KANE, CASABLANCA nor not even KING KONG. The Good News that it is still better than the remake.WHEN ONE EXAMINES its entirety, we discover that some of the more obvious reasons are unusually led into the witness chair in an attempt to affix blame. Hence we have the following, 'usual suspects' awaiting en queue; those being: star & featured roles, supporting cast and general fidelity to the original story and characters.CERTAINLY ONE MUST come to the reasonable conclusion that none of these factors are 'the murderer'; although there could be made a strong case against some of their being complacent and knowing accomplices.ANY PRODUCTION WHICH boasts of having two such iconic stars as this picture does is surely said to be out of the old 'starting blocks' with ease. The combination of James Stewart and Robert Mitchum (considered by many to be the best of the screen Matlowes)was a concession to both critical approval, as well as to Box Office $ucce$$!* WHAT WE FAULT as being the weak link in this movie is its setting. Had it not been transported to contemporary London, instead of to 1940's Los Angeles of Raymond Chandler's pen; it would have been a much better,interesting and more entertaining a movie.AS EVIDENCE OF what we are driving at, just take a gander at the previous Phillip Marlowe outing in FAREWELL, MY LOVELY (ITC/????/Avco Embassy, 1975) as proof.AND JUST WHY was such a change of venue or setting implemented as cornerstone of this filming of THE BIG SLEEP? We believe it was the fault of 'the Suits' in the Board Rooms of the Companies who were footing the bill.AS OFFERING THE best comparison that we can to strengthen and perhaps prove our case, we must refer to the old SHERLOCK HOLMES Series, with Basil Rathbone and Nigel Bruce.** Those stories were filmed in a contemporary (1940's) setting for one simple reason; that being, the bottom line. It was much more economical, ergo, more profitable to do it this way; rather than having incurred the extra expense of Victorian costuming, Olde London Towne sets, horse drawn carriages, etc.SO IT IS true to this Marlowe romp that present day London would be far less costly than recreating the Los Angeles of a bygone era; as was done for FAREWELL, MY LOVELY.THE PROSECUTION RESTS. your witness! NOTE: * The popularity of Raymond Chandler's cynical, world weary sleuth is evidenced by the number of major movies made in the '40's on' all done by various studios and not as a run of "B" or "Series" movies.NOTE:** These don't include THE HOUND OF THE BASKERVILLES and THE ADVENTURES OF SHERLOCK HOLMES (both 20th Century-Fox, 1939)which both starred and originated the Rathbone-Bruce team and were set as they should Be, in Victorian/Edwardian England, Scotland, Wakes and Ireland.

I had mild hopes for this film from the start. Robert Mitchum, a great actor in his day, was a little long in the tooth to be playing the detective. And it was set, oddly, in London and not in LA. Soon into the picture, not only did it barely live up to my low expectations, but it made me groan on several occasions.The ham-fisted acting, especially on the part of Candy Clark (was she directed to act that retarded or was it her idea?) and sterile scenery were especially hard to take. Some of the actors seemed like set dressings rather than characters. Richard Boone, looking as drunk as ever, plods through this movie for no apparent reason. The only thing memorable about Sarah Miles was her enormous triangle-cut hair, which did nothing more than annoy me.And what was Marlowe doing in expensive clothes and wearing a Rolex watch? Apparently being honest pays far more than he lets on.There are so many better Marlowes out there, so unless you're a real Chandler fan, avoid this one (same goes for Altman's The Long Goodbye and Robert Montgomery's Lady in the Lake).