In the realm of detective fiction, Philip Marlowe is an iconic figure, a hard-boiled private investigator created by Raymond Chandler whose adventures have been immortalized in print and on screen. The character has been portrayed by various actors over the decades, each bringing their unique touch to the role. In the 2022 film "Marlowe," directed by Neil Jordan and starring Liam Neeson, we see yet another iteration of this classic character.
"Marlowe" is based on the novel by John Banville, which itself is a continuation of Chandler's Marlowe stories. The film follows the eponymous detective as he navigates the murky waters of a complex case involving a missing person, blackmail, and the dark underbelly of society. The story is a classic noir, filled with twists and turns that keep the audience guessing until the very end.
Liam Neeson, a seasoned actor known for his roles in action thrillers such as the "Taken" series, takes on the role of Marlowe with a certain gravitas that comes with age and experience. His portrayal is marked by a world-weary resignation, fitting for a character who has seen the worst of humanity and yet continues to fight for justice. Neeson's Marlowe is less of a physical force and more of a thinker, a man who uses his intellect to outwit his adversaries.
The supporting cast is equally strong, with each actor bringing depth to their respective roles. The chemistry between Neeson and his co-stars, particularly Diane Kruger, adds a layer of complexity to the narrative, hinting at a past that has shaped Marlowe's character.
Neil Jordan, the director of "Marlowe," is no stranger to the crime genre, having directed films such as "The Crying Game" and "Interview with the Vampire." His direction in "Marlowe" is characterized by a keen eye for detail and a respect for the source material. Jordan's vision of the film is one that pays homage to the classic noir style while also bringing a modern sensibility to the story.
The cinematography is atmospheric, capturing the gritty reality of the film's setting. The use of shadows and dim lighting adds to the suspense and mystery, creating a sense of unease that permeates throughout the film.
The reception of "Marlowe" has been mixed. Some critics have praised Neeson's performance and the film's adherence to the noir genre, while others have found it to be a less than stellar addition to the Marlowe canon.
One reviewer wrote, "Let those who don't understand be disappointed, let those who understand be utterly disappointed." This sentiment reflects the divide in audience reception, with some feeling that the film failed to capture the essence of Marlowe as a character and the spirit of Chandler's original stories.
"Marlowe" is a film that attempts to revive the classic detective genre with a modern touch. Liam Neeson's portrayal of the iconic character is a thoughtful and mature one, bringing a different dimension to the role. However, the film's mixed reception suggests that it may not have fully resonated with audiences or lived up to the legacy of its source material.
In the end, "Marlowe" is a film that will appeal to fans of the noir genre and those who appreciate a more contemplative and less action-oriented detective story. For others, it may be a film that leaves them wanting more from the character and the story.
Whether one views "Marlowe" as a worthy successor to the legacy of Philip Marlowe or a misstep in the character's journey, it is a film that invites discussion and reflection on what makes a detective story truly great. It is a testament to the enduring appeal of Chandler's creation and the timeless nature of the noir genre.
让连姆尼森演侦探，走的还是营救那一套，前者身手利索，现在则因为年龄问题明显吃力，加上导演不想老老实实的塑造人物，只顾消费影迷的仰慕，导致这种没有脑子的推关，更像是迫不得已的硬抗……n虚假的暧昧、肮脏的交易，连马洛都揣着不好的秘密，如此这般，竟让我对爱情悲剧有了几分渴望……n简而言之，节奏毫无波澜，生死冷眼旁观，角色无一喜爱，结局有点失态……
马洛，菲利普·马洛，是美国最牛逼的侦探小说作家雷蒙德·钱德勒笔下的私家侦探。这个名字中国人知道的比英国人多，英国人知道的比美国人多，可最讽刺的是，这个人明明是美国小说中的人物，说明美国人真是不了解自己的文化。
影史上钱德勒的小说被多次拍成电影，这也是为什么很多人一提到钱德勒，想到的就是好莱坞电影。但是这一部电影，有所不同，因为它不是改编自钱德勒本人写的小说，而是改编自一个当代英国作家模仿钱德勒的口吻写的一本以马洛为主人公的新的小说。这个作家家喻户晓，他叫约翰·班维尔。
他用本杰明·布莱克为笔名，模仿钱德勒写了一本关于马洛的侦探小说，叫做《黑眼睛的金发女郎》。这个黑眼镜的金发女郎在片中由年老色衰的戴安·克鲁格饰演，虽然我承认她这么大岁数了还是很漂亮，但我觉得她相当不适合这个角色。首先，这个角色应该先年轻一些；其次，应该再漂亮一些。她应该是本片中最漂亮的女角色，可是我们看到，现在影片中没有一个可以算是真正漂亮的女角色。
为什么这部电影令人失望呢？首先因为故事太烂了。其次因为太不像钱德勒了。原著故事本身就很糟糕，我不了解是约翰·班维尔本身就是一个垃圾作家，还是只是他写了这本垃圾小说。
为了不剧透，我只能说故事设计地太简单，太粗糙，让人没有共情，以至于我们都根本不关心到底发生了什么，不关心人物的死活，不关心谁杀了谁，我甚至都不在乎连姆·尼森会不会死。当然，马洛从来不会死。
算了，剧透一下也无妨，因为本身也没什么可剧透的。两个黑社会反派显得太弱，刚出场没多久就死了。警察显得太可有可无，警察拜托马洛去捣毁黑社会窝点，这个太简单粗暴了，没有任何故事性。影片大半部分一直失踪的人，在结尾突然出现在了马洛家门口，太简单粗暴了。马洛和女主没有什么复杂的情感纠葛，这个完全违背了钱德勒小说中的一大特色——男主与女主的复杂情感关系。
开头部分马洛躺在床上明显是想模仿罗伯特·奥特曼1973年的《漫长的告别》开头部分马洛在家跟猫玩儿的桥段，可惜模仿地拙劣至极。丹尼·休斯顿饰演的反派角色明显是想致敬《唐人街》中的反派老头子，由丹尼·休斯顿的父亲约翰·休斯顿饰演。丹尼·休斯顿本身演技很好，可惜这里演得很烂。我觉得是这个人物设定的有问题，谁来演都行。找丹尼·休斯顿来饰演可能只是因为他是《唐人街》中反派饰演者约翰·休斯顿的儿子，可惜99.99%的观众都不知道这一点。
总之，甭看了，别浪费时间了。说句难听的，既然拍不好，还不如别妈拍。幸亏这不是根据钱德勒自己的小说改编的。要不然我们会更失望。
In the realm of detective fiction, Philip Marlowe is an iconic figure, a hard-boiled private investigator created by Raymond Chandler whose adventures have been immortalized in print and on screen. The character has been portrayed by various actors over the decades, each bringing their unique touch to the role. In the 2022 film "Marlowe," directed by Neil Jordan and starring Liam Neeson, we see yet another iteration of this classic character.
"Marlowe" is based on the novel by John Banville, which itself is a continuation of Chandler's Marlowe stories. The film follows the eponymous detective as he navigates the murky waters of a complex case involving a missing person, blackmail, and the dark underbelly of society. The story is a classic noir, filled with twists and turns that keep the audience guessing until the very end.
Liam Neeson, a seasoned actor known for his roles in action thrillers such as the "Taken" series, takes on the role of Marlowe with a certain gravitas that comes with age and experience. His portrayal is marked by a world-weary resignation, fitting for a character who has seen the worst of humanity and yet continues to fight for justice. Neeson's Marlowe is less of a physical force and more of a thinker, a man who uses his intellect to outwit his adversaries.
The supporting cast is equally strong, with each actor bringing depth to their respective roles. The chemistry between Neeson and his co-stars, particularly Diane Kruger, adds a layer of complexity to the narrative, hinting at a past that has shaped Marlowe's character.
Neil Jordan, the director of "Marlowe," is no stranger to the crime genre, having directed films such as "The Crying Game" and "Interview with the Vampire." His direction in "Marlowe" is characterized by a keen eye for detail and a respect for the source material. Jordan's vision of the film is one that pays homage to the classic noir style while also bringing a modern sensibility to the story.
The cinematography is atmospheric, capturing the gritty reality of the film's setting. The use of shadows and dim lighting adds to the suspense and mystery, creating a sense of unease that permeates throughout the film.
The reception of "Marlowe" has been mixed. Some critics have praised Neeson's performance and the film's adherence to the noir genre, while others have found it to be a less than stellar addition to the Marlowe canon.
One reviewer wrote, "Let those who don't understand be disappointed, let those who understand be utterly disappointed." This sentiment reflects the divide in audience reception, with some feeling that the film failed to capture the essence of Marlowe as a character and the spirit of Chandler's original stories.
"Marlowe" is a film that attempts to revive the classic detective genre with a modern touch. Liam Neeson's portrayal of the iconic character is a thoughtful and mature one, bringing a different dimension to the role. However, the film's mixed reception suggests that it may not have fully resonated with audiences or lived up to the legacy of its source material.
In the end, "Marlowe" is a film that will appeal to fans of the noir genre and those who appreciate a more contemplative and less action-oriented detective story. For others, it may be a film that leaves them wanting more from the character and the story.
Whether one views "Marlowe" as a worthy successor to the legacy of Philip Marlowe or a misstep in the character's journey, it is a film that invites discussion and reflection on what makes a detective story truly great. It is a testament to the enduring appeal of Chandler's creation and the timeless nature of the noir genre.
《马洛》既是连姆·尼森的第100部电影，又是与戴安·克鲁格的第二次合作。2011年，二人首次合作《不明身份》，配合可以说珠联璧合、相得益彰，精彩演绎令人称道（反正我喜欢简单的剧情）。时间已经无情地过去了11年，时过境迁，岁月的确催人老。
先说说戴安·克鲁格饰演的克莱尔·卡文迪什，她的闪亮登场，充分诠释了经典黑色故事中的始作俑者：蛇蝎美人的标配，这是必要组成部分之一。克鲁格塑造的这个角色中规中矩，是一个你不知道自己是否可以完全信任的角色。她有时既胆小又无助，同时自信地把所有的疑点都转移在别人身上。容光焕发的她就是一个现代的蛇蝎美人模特，服装设计很复古。这个女人就是现实。既要继承母亲的财产，又要周旋于各色情人之间，包括年龄大到可以做其父亲的大使。
有哲人说过，女人是生活的精算师。每个女人都经历过纯情、率真的少女时代，对未来的一切充满憧憬，而那些风花雪月、浪漫柔情总会被现实无情粉碎，让女人比男人变得更清醒、更务实。
她算准马洛不会将她这样的尤物拒之门外，其实是她提供的点点滴滴信息在引导着他的思路。随着二人的不断接触，仿佛有点暧昧情愫在暗暗滋生。对于年轻的女人，男人自然是喜欢的。因年轻代表了美貌，代表了不变形的身材，也代表了青春。
试问，又有谁会不喜欢春天的西湖水呢？
何况她身上有普通女性所具备的那种日常美。
非天使也非恶魔，不凌厉也不秾艳，却有种处之不厌的温良与舒适。是名副其实的风韵犹存。
她和尼森在银幕上的时光令人愉快，彼此默契心照不宣。
其实他怎么会看不出来她的每一个眼神？更能品出不同眼神所蕴涵的不同含意。但他还是毅然决然地拒绝了她，避免了这部影片上演成男女主角之间的爱情模式。显得不落俗套不落窠臼。也让马洛义无反顾地的寻着她的指点进一步完成自己的工作，虽然不是爱情，但是他依然心甘情愿。
来看看她是如何既调皮又无耻地挑逗着老廉颇：
克莱尔·卡文迪什：她（多萝西·卡文迪什，她的母亲）总想占有我想要的或我拥有的东西，可能她只是害怕你跟我做爱之后发现我有多糟糕。
马洛义正词严：因为我受雇于你，因为你的年龄只有我的一半，因为你是如此美丽，我会迷失自己的。克莱尔·卡文迪什步步紧逼：如果不能做爱的话，那我们能做什么？克莱尔妩媚地看着他
马洛:跳舞，看着魅力四射而自信（男人不轻易离开她）的尤物，马洛冷静下来，带着不安和孤独。
悬而未决的案件在克莱尔·卡文迪什的引导下，抽丝剥茧。
拼图有很多块，我不知道你会发现什么？
面对马洛的质疑，克莱尔·卡文迪什的话有点闪烁其词，也是为最后的结局做了必要的铺垫。
拨开层层迷雾之后的事实真相多少有点令人大失所望。
因为马洛的主要任务就是寻找死亡的克莱尔的前情人尼克。蓦然回首，那人却在，灯火阑珊处。找了那么久，目标自己出现了！他就在马洛的住宅倚着门框等着他！你说这个剧情，一言难尽啊！
难道找到前情人尼克就是为了杀死他，让他真的从这个世界上消失？也可能就是为了尼克手里的重要材料？这样所有关于大使、母女的丑闻就会烟消云散？最后马洛放走了杀死尼克的克莱尔，所有交易记录也是付之一炬。
当克莱尔绝情地杀死前情人尼克时，把蛇蝎美女的本性释放的淋漓尽致。
马洛最终还是把这个拼图拼凑得天衣无缝，爱情、亲情、仇恨、事业、危机都与这个世界和解了。面对克莱尔给出的优渥待遇与职位，马洛挥一挥手从容告别，名利于我如浮云。
年逾古稀的连姆·尼森的动作戏不多，虽然不拖泥带水，眼神依然还是笃定，但是身手不在犀利了，我们希望他继续战斗下去，别虚张声势，奈何已是古稀之年的老人。因他身材高大，神态威严又不乏慈爱，希望以后饰演一些满怀温情的角色。起码他还在用心地演戏，没有敷衍了事。至于动作，本来也是一不留神才成为了动作巨星，也无所谓失去。
这个电影另一个译名:神探营救，所以，宝刀未老，老而弥坚，营救在继续。
凭谁问，廉颇老矣，尚能饭否？戴安称之曰能。
还是老当益壮的代表。
影片中母女针锋相对、风言醋语的场面颇有看点，令人欣慰。当然作为伟大的母亲对于女儿的危机也不是置若罔闻。不管怎样，杰西卡·兰格Jessica Lange饰演的多萝西·卡文迪什都是这部电影的MVP。前不久看过她和杰克·尼科尔森主演的《邮差总按两次铃》，真的像该片的另一个译名：欲火焚身！杰西卡·兰格和杰克·尼科尔森在厨房餐桌上的性爱场景注定会成为影史上经典的最诱人时刻，虽然没有裸体，却让你血脉贲张、欲罢不能。就像《一曲相思情未了》中米歇尔·菲佛一袭红裙，俯卧在钢琴上引亢高歌《Makin' Whoopee》的片段，注定会是影史上最性感的歌舞桥段之一一样！这是我的短评。
看看1950年的好莱坞，和现在的潜规则有什么不同：多跟制片人睡觉才行
有一点印象不行，得如雷贯耳才行
当然我也欣赏这句台词：心在哪里，家就在哪里
不过塞德里克，那个毒贩老板卢·亨德里克斯的得力助手兼司机，在影片最后说的话也发人深省：汽车不仅仅是交通工具，还是个封闭的忏悔室，藏着很多秘密，这个城市不光产汽车，也生产汽车里的秘密…… 这多像每家看似温馨的窗帘背后都隐藏着肮脏龌龊，也可能是千疮百孔……
其实这么多的名角，本可以使这部电影成为是一场丰盛的故事盛宴，但最终只不过是家常便饭。但愿我们的营救之神不会像尼古拉斯·凯奇、布鲁斯·威利斯和梅尔·吉布森一样只为了薪水而沦为烂片之王。