Word: goulding
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Instead of being a nostalgic salute to old Hollywood detective movies, The Long Goodbye tosses the tradition's cliches out the window. Altman waves goodbye to the genre's habit of emphasizing plot instead of characterization. And Elliott Gould, as a Marlowe for the seventies, is like no detective we've ever seen before: a schlemiel forced to live up to his fantasies about justice and derring-do. He is a contemporary Rip Van Winkle, walking around modern-day Los Angeles with ideals and morals from a different...
ALTHOUGH ALTMAN devotes much of the film's energy to a mockery of the worst excesses of Hollywood melodramas, the heart of the movie is Elliott Gould's portrait of Marlowe. He is the incorruptible core, surrounded by characters who vary only in the degree of their rottenness. Marlowe's may seem to be a naive view of the world, to be sure: His old-fashioned standards are as outdated in today's Los Angeles as his 1948 Lincoln. But the anachronism of Marlowe--the caring man in a Disneyland of indifference--is strangely appealing...
...Gould's Marlowe is half-knight and half-clown, struggling against a city's corrupting power. He constantly mumbles to himself to convince himself that he's really a private eye, like someone else would pinch himself to make sure he's not dreaming. Marlowe's Los Angeles is constantly alight with all-night supermarkets, all-night traffic, all-night venality. He is awake to the phonies and moral bankrupts around him, and the audience sees L.A. as he sees it. The restless, light-drenched photography (by Altman veteran Vilmos Zsigmond), and nervy editing and soundtrack express the visual...
SATURDAY: The Night They Raided Minsky's. 1967. Bert (Cowardly Lion) Lahr's last film role--Elliott Gould's first. Directed by William Friedkin who went on to "The French Connection" and "The Exorcist," this musical farce is a nostalgic look at the twenties burlesques. CH. 4. 9 p.m. Color...
Beethoven: Piano Sonatas, Op. 31, Nos. 1, 2 ("Tempest") and 3 (Glenn Gould; Columbia; $5.98). Hindemith: Piano Sonatas Nos. 1, 2 and 3 (Glenn Gould; Columbia; $5.98). It is now a decade since the happy hypochondriac of music abandoned the recital stage to devote his life to producing radio documentaries in his native Canada, staying warm (he still wears sweaters and mufflers on the balmiest days) and, fortunately for the rest of the world, continuing to make some of the finest, most original and pleasantly outrageous recordings...