Guns at Cyranos (1986)

Series: Philip Marlowe, Private Eye
Country: United States
Director: Robert Iscove
Starring: Powers Boothe, Roxanne Hart, Cec Linder, Mark Humphrey, Ken pogue, John Ireland
Music: Samuel Matlovsky
Title Theme: Moe Koffman
Based on the short story by Raymond Chandler

Guns at Cyrano’s is a short story by Raymond Chandler, which originally appeared in Black Mask, in January 1936, and the detective in that story was called Ted Malvern. Malvern was later changed to Ted Carmady for the Simple Art of Murder anthology. For this 1986 episode of the series Philip Marlowe, Private Eye, he evolves into Chandler’s most famous creation – as you would have guessed, Philip Marlowe.

The story starts in Benny Cyrano’s Gym with the arrival of Philip Marlowe (Powers Boothe). In voice-over, Marlowe describes the smell as having the power of a ‘Right Hook to the jaw’ (is Marlowe a Southpaw?) The gym is a hive of activity with many boxers slugging it out, and pounding the bags. The star attraction, Duke Targo (Mark Humphrey) is in the centre ring with a sparring partner. Watching him is his girl, Jean (Roxanne Hart), who is a nightclub performer. Marlowe introduces him self to her. She doesn’t seem too impressed.

Marlowe moves on through the gym, to the back, and to Benny Cyrano’s office. A gangster type, tries to stop him, but Marlowe slugs him in the gut and pushes him aside and enters the office. Marlowe is expected. Benny Cyrano (Cec Linder) wants to hire Marlowe to find out who has been sending threats to Targo. Targo’s record reads, twelve fights / twelve K.O.s – and his thirteenth fight is that evening. Cyrano is concerned that Targo may be forced to take a dive. Marlowe takes the case.

Marlowe doesn’t know where to start, so he begins with Targo’s girl Jean. He tracks her to her hotel room, but when he arrives, he finds her unconscious, laying in her doorway. Paging, Philip Marlowe – White Knight!

Meanwhile, the state has a new boxing commissioner, Senator Courtway (John Ireland), who vows to stamp out corruption in the fight game. Is he in anyway connected to the threats leveled at Targo? Is he responsible for the attack on Jean? Well, these are the questions that Marlowe must answer, as he tries to untangle the threads of this case.

Benny Cyrano also happens to run a nightclub called ‘Cyranos’, which is where Jean performs. The title, Guns at Cyranos refers to this nightclub, rather than the gym. And after the fight – well, I don’t really have to tell you, do I?

On a television show such as this, expecting a high level of fight choreography is probably a bit too much to ask. Most of the fight sequence is film in medium to long shot, and even then it is obvious that the punches are not landing. But ultimately this is a Philip Marlowe story – not a boxing story. It just happens to take place in the seedy world of boxing.

Guns at Cyranos is a tight little tale, with the usual Chandleresque bitter-sweet relationships, deceptions and twists. But they sit pretty well. It has been quite a few years since I have watched this Philip Marlowe series, from beginning to end, but I recall this being one of the better episodes, in a series that was generally of a high standard.

You can read the Carmady (Simple Art of Murder) version of the story by clicking here.

May sees the launch of King of the Outback, the sixth book in the popular Fightcard series – and my literary debut (writing as Jack Tunney). Accordingly, in a month long celebration, Permission to Kill will be looking back and some of the highlights – and lowlights – of boxing in film and literature – and in music too.

For an up-to-date direct connection with the Fightcard series check out the home page, or for you youngsters, you can follow the Facebook Fan Page.

Advertisements
Guns at Cyranos (1986)

The Long Goodbye (1973)

Country: United States
Director: Robert Altman
Starring: Elliot Gould, Nina Van Pallandt, Sterling Hayden, Mark Rydell, Henry Gibson, Arnold Schwarzenegger
Music: John T. Williams
Based on the novel by Raymond Chandler

It has been said that Robert Altman’s film of The Long Goodbye is a send up of Raymond Chandler’s novel of the same name. I don’t buy it! I admit it is very different to all the Philip Marlowe films that have been made before. Even Marlowe, with James Garner, which was made only six years prior to this, and had a contemporary setting, still had an old school feel to it. But The Long Goodbye has a distinctly 1970’s feel to it, and the Marlowe character, as played by Elliott Gould is not as ‘hard boiled’ as previous Marlowes. Gould applies some method acting to the Chandler universe. So when Marlowe is worked over by hoods, he mumbles, staggers and slurs a defiant wisecrack, rather than ‘spitting out a wisecrack’. I guess it is a more human depiction of Marlowe, than has been seen before.

The story has two concurrent story threads, which initially appear to be unrelated – but of course, become entwined by the stories end. The first concerns a friend of Marlowe’s, Terry Lennox (Jim Bouton). Lennox turns up on Marlowe’s doorstep in a spot of trouble. He asks his old pal to drive him to Mexico, which Marlowe does. Only later, does Marlowe find that Lennox is wanted for the murder of his wife. Marlowe is arrested as an accomplice, and spends three days in jail. Finally the Marlowe is released, when Lennox commits suicide in a hotel, in a small rural village. Case closed. Marlowe is free.

The second story thread concerns Eileen Wade (Nina Van Pallandt), who hires Marlowe to find her missing husband. Her husband, Roger Wade (Sterling Hayden) is an author, with writer’s block and a drinking problem. He has disappeared on previous occasions, usually into rehab institutions, but on this occasion, Eileen has not been able to find him anywhere. Marlowe agrees to take the case.

As I have suggested, these two story threads intertwine in a rather typical Chandleresque fashion – serving up the requisite low-life characters, hoods, corrupt cops, and even a young Arnold Schwarzenegger as a two-bit henchman. All-in-all it’s not too bad – even if some of the character motivations and plot strands are a little fuzzy.

But what makes this film controversial, in some people’s eyes, is the ending. Warning; major spoilers ahead. I try not to spoil the films I review, but we are talking about a film that is thirty-five years old, and I am sure I am not the first, nor will I be the last, to talk about the ending to The Long Goodbye. Put simply, Marlowe figures out that Lennox is still alive, and tracks him down to his villa in Mexico. Then he shoots him down in cold blood. Those familiar with Chandler’s book, will know that in the original story, Lennox did indeed fake his death. But Marlowe didn’t track him down. Lennox came to him, albeit after having had plastic surgery, and trying to pass him self of as a Mexican who was working at the hotel on the day that Lennox purportedly killed himself. Marlowe sees through Lennox’s ruse. But he doesn’t kill him. Lennox walks away and into – supposedly – his new life.

The other difference between the stories, which supposedly justifies Marlowe’s actions, is that in the film, Lennox did kill his wife. In the book it is Eileen Wade who is the killer. The bit that get’s my goat, is there is no need for the change. The set up is complete in the film. It appears to have been changed for the sake of change – all at the expense of the source material. And furthermore this dramatically, and out of keeping with the rest of the film, alters Marlowe’s character. Philp Marlowe would not shoot a man down in cold blood. And certainly not one, who never intended to do him any harm. So rather than being the hard boiled, world weary Philip Marlowe, that the world has come to know, we have a petulant schoolboy with a gun, who is angry that he has been duped, and inconvenienced. The Marlowe I know has been duped, inconvenienced, beaten and bruised so many times that it is second nature. But still, he comes through all this with some sort of battered nobility. But there is no nobility in the closing of Altman’s film. It’s a temper tantrum, but with a bullet taking the place of angry words.

At the top of this review, I suggested that many people have called The Long Goodbye a send up. A send up, is something that takes the piss out of overused genre tropes. Therefore, I don’t think the film of The Long Goodbye is a send up. It serves up the genre tropes gleefully. I guess the tag ‘send up’ was applied by some marketeer as a defence against the film deviating from the source material. If you say it’s a ‘send up’ – then people cannot complain that it isn’t the same as the book. But I take offense at that. Any book lover, who has seen a film version of a book they have read knows that it will be different – whether that be Harry Potter, Tinker Tailor Soldier Spy, or The Girl With The Dragon Tattoo. All you can hope for, is that the film makers faithfully capture the spirit of the book. Changes are necessary. And I fully realise that condensing down – well my version of The Long Goodbye is 320 pages, and small type at that – into a 120 minutes movie, means jettisoning more than half of the book. I accept that. But the thing is, the film-makers had mostly succeeded in doing that. But then they contemptuously changed the ending and the character. My problem being, if you don’t like the Marlowe character, or the ending to the story, why acquire the rights and make a film out of it in the first place? The film-makers can write an original script from scratch, presenting their own unique vision of the detective story, rather than writing over and tarnishing one of the twentieth century’s most indelible fictional characters.

The Player is a send up. The Long Goodbye is just arrogance and contempt.

Elliot Gould has appeared in a number of spy productions; such as Who?, The Lady Vanishes (1979) and S.P.Y.S, which I haven’t seen since I was a kid – and I don’t remember it too fondly – but maybe some of the humour just went over my head. I will have to check it out again one day. And Gould was the voice of Mr. Stoppable in the Kim Possible tv series. Some of Arnold Schwarzenegger’s films, such as Eraser (and others) are cusp spy films.

The Long Goodbye (1973)