Farewell My Lovely 1975(in Hollywood Movies) Farewell My Lovely 1975 (1975) - Download Movie for mobile in best quality 3gp and mp4 format. Also stream Farewell My Lovely 1975 on your mobile, tablets and ipads
Plot: Los Angeles private eye Philip Marlowe is hired by paroled convict Moose Malloy to find his girlfriend Velma, former seedy nightclub dancer. Runtime: 95 mins Release Date: 08 Aug 1975
My favorite adaption of Raymond Chandler (by hankeyham)
This is an extremely underrated film. It has a deliciousness, shot in whiskey tones. Mitchum's voice-over, with all the wry Chandler-esque tired wisdom, strikes a great balance of period, humor and self-awareness. Charlotte Rampling lives up to the sad, irresistible breathtaking beauty that you try to imagine reading some of Chandler's books. There was another Mitchum-Marlowe The Big Sleep , and he was certainly born to play this role, but it missed the taste. Not so with this one. It's positively redolent. Great mystery story and lots of fun.
Amazing Film (by jay4stein79-1)
Farewell, My Lovely was for a long time the Holy Grail for me. I had heard about this film, heard how fantastic it is; as a tremendous fan of detective fiction and film noir, I was therefore dying to see it. Unfortunately, the DVD's been out of print for a couple years since before I was aware of this movie's existence and currently sells for outrageous prices on E-bay and Amazon. I'm surprised I'd not heard of Farewell until recently. I've seen Mitchum's turn as Marlowe in the Big Sleep not as good as this film and I adore him as an actor. I'm also quite fond <more>
of the Chandler novel upon which the movie is based not quite as brilliant as The Big Sleep, but it tops pretty much every other novel Chandler wrote . All this should add up to me knowing this movie was out there. It did not. In any event, yesterday, I was roaming through the local video store - one of those big chains that has a lot of movies but no real winners - and I stumbled across a copy of Farewell on DVD no less whilst looking for another noir After Dark, My Sweet is what I think it's called . I gladly slapped my $2 down for Farewell instead and ran home to watch it. It was well worth the money but, because the transfer is awful and its in pan and scan format, not worth the $50 they want for a used copy on Amazon . Like Chinatown, released a year earlier, it has the look and feel of a late-40s detective film. The period detail is spot on and, had it not been for Charlotte Rampling, you would not seem insane for placing the movie's release date a decade or two earlier. Robert Mitchum, as Marlowe, amazes. As much as I love Hawks' the Big Sleep, Bogie never struck me as a Marlowe type. There's a hardness and angularity to his features that, for some reason, gives me pause. He simply doesn't strike me as Marlowe he is, however, next to Mitchum in this movie the best filmed version of the man. Dick Powell is far too good looking and thin - Marlowe is a bulky man in my mind - and don't even get me started on Elliot Gould . Mitchum, with his oddly shaped head, jowls and labored, husky voice is perfect. The man is, as others have said, an icon and he brings all the Mitchum mythology with him to this role. It helps and makes the performance all the more surprising. What surprises is the softness that occasionally comes through his gruff, cynical exterior tossing the ball with the kid, for example, or his treatment of Moose and Jessie . Here is a man who legitimately mourns the death of every character in this movie. This seems completely at odds with earlier portrayals of Marlowe particularly Bogart's cold and eternally cynical performance , but it is a welcome change. The Marlowe of Farewell is, in fact, older and so why not softer as well? Mitchum's performance also flies in the face of the Mitchum-myth. Here, you will not find anything like the men he'd played in Cape Fear and Night of the Hunter. Through his movies and his real like escapades, Mitchum had made a name for himself as a b*****d. In Farewell, he is anything but, giving Marlowe a humanity and chivalric sense of duty present in the Chandler novels but generally absent from the filmed adaptations. The other performances are equally impressive. Rampling seems to channel Bacall from the Big Sleep in a limited but nevertheless effective performance, and Harry Dean Stanton, one of the greatest American actors, appears as a crooked cop. As I said, the period detail is incredible and the direction is unobtrusive. It's as solid a film noir as you're liable to find. If you have the opportunity, please watch it; you will not be disappointed.
Coming on the heels of "Chinatown" was "Farewell, My Lovely" a film not nearly as well known but just as good.Robert Mitchum gives the performance of his career in the role of a lifetime as private detective Phillip Marlowe, a hard drinking, cigarette smoking guy who has or thinks he has seen it all. The film opens with a thug asking Marlowe to find his long missing girl. Seems easy enough until Marlowe and the viewer realizes that nothing is as it seems.The film is filled with twists and turns to keep the audience guessing with dialogue that harkens back to the great <more>
noir films of the 40's. Credit writer David Zelag Goodman for keeping the Raymond Chandler style faithful to this screen adaptation.Let's not forget the supporting performances starting with the very sexy Charlotte Rampling as Marlowe's vixenous aquaintance and Sylvia Miles in an Oscar nominated performance. And look for Sylvester Stallone pre-Rocky in a small role.If you like a good mystery which isn't easy to figure out, and a script filled with crisp dialogue and intruiging situations, then this is the one for you. WARNING: Do NOT see the cut version.
...why on earth did they not film it in glorious B & W?
Robert Mitchum excels as Marlowe in this excellent 70's noir gem (by Woodyanders)
Aging and world-weary private eye Phillip Marlowe superbly played by Robert Mitchum gets hired by hulking brute Moose Malloy a credible portrayal by Jack O'Halloran to find his missing girlfriend Velma. However, this deceptively simple case ultimately proves to be a lot more complicated than anticipated.Director Dick Richards, working from a sharp script by David Zelag Goodman, keeps the intricate and absorbing story moving at a steady pace, offers a flavorsome evocation of the 1940's period Los Angeles setting, and astutely captures an arrestingly sordid and downbeat tone without <more>
going overboard on the sleaziness. Better still, Richards avoids sentimental nostalgia by refusing to sugarcoat the more harsh social realities of the 1940's, with the issue of racism in particular being addressed head on.Mitchum brings a winning blend of dry wit, rumbled grace, and bruised integrity to the character of Marlowe, who yearns to find something worth saving in a rotten world. The rest of the topflight cast are likewise on the money excellent: Charlotte Rampling makes for a deliciously sly and seductive femme fatale as the enticing, yet duplicitous Helen Grayle, Sylvia Miles contributes a heartbreaking turn as booze-sodden rundown floozy Jessie Halstead Fabian, and Anthony Zerbe cuts a suavely sinister figure as slimy mobster Laird Brunette, plus there's praiseworthy work from John Ireland as the hard-nosed Detective Lieutenant McNulty, Harry Dean Stanton as crooked low-rent scuzzball Detective Billy Rolfe, John O'Leary as the effeminate Lindsay Marriott, Kate Murtagh as formidable brothel madam Frances Amthor, and Joe Spinell, Burton Gilliam, and Sylvester Stallone as a trio of vicious thugs. In addition, such folks as Richard Kennedy, Harry Caesar, Logan Ramsey, and Cheryl "Rainbeaux" Smith pop up in small roles. John A. Alonzo's sumptuous cinematography gives this picture a glittery neon look. David Shire's lush score hits the smooth jazzy spot. Essential viewing.
Robert Mitchum, as Philip Marlowe, takes on 1941 Los Angeles in a classic film noir remake (by Mickey-2)
"Farewell, My Lovely" is another film version of the Raymond Chandler novel, "Murder, My Sweet," and thrusts Robert Mitchum in the role of the overly tired, beat-up but willing to take on a case private detective known as Philip Marlowe. As the film opens in 1941 Los Angeles, Marlowe has just tracked down a runaway girl, returned her to the parents, and gotten a good slug to the midsection for his troubles. Out of the shadows of a nightclub steps Moose Malloy, freshly released from prison, who tells Marlowe that he wants him to find his missing Velma. At first glance, it <more>
seems like a simple case, but it drags Mitchum, Marlowe through several shootings, muggings, an injection of a narcotic, and other mishaps before Marlowe can wrap up the matter of the missing showgirl, Velma. Mitchum manages to provide a great voice-over to move the film along, but it goes at a good pace on its own. The supporting cast includes John Ireland, Charlotte Rampling, Sylvia Miles, and introduces Jack O'Halloran as the Moose. Also, catch a young Sylvester Stallone in some work prior to his Rocky Balboa films. A great film noir for fans to enjoy.
Robert Mitchum at his hard boiled best. (by smiley-39)
This re-make of Raymond Chandler's work has the edge on the 1944 film. Robert Mitchum's face fits the film perfectly. His ageing hard boiled-looking features look like a relief map of the Rocky Mountains! In this movie Mitchum was as good he has ever been. He got better as he got older. What I also liked was the haunting but soulful musical score, at the beginning and at the end.In the closing scene an atmosphere of rising crisis that seems to hang in the air; created by the soulful musical score. Marlow with the case all wrapped up and himself at a loose end; in the amusement centre <more>
playing the machines, picks up a discarded newspaper with "Tokyo" in bold print as the front page headline. Was this the late hours of the 6th of December in Los Angeles? A sailor and his girl, and a soldier in the background makes it seem so. Both the sailor and the soldier, and the whole of America blissfully unaware, that a Japanese armada has shaped a easterly courseacross the North Pacific. That scene coupled with the soulful musical score is like a forlorn-sounding and doom-laden overture to what is about to happen with surprising and devastating suddenness on the following but quiet Sunday morning in Hawaii. It is not surprising that one of the songs is titled, "Sunday".
They don't make films like that anymore. (by Galina_movie_fan)
L.A. of June 1941 as it was depicted in the Raymond Chandler's novel of the same title is filled with the dark secrets of the past that better stay uncovered. Philip Marlow, PE Robert Mitcum takes a job to find a vanished girlfriend of the felon Moose Malloy, and he has no idea what will follow. As Marlow searches for Velma Galento, he has to deal with a beautiful but cold and calculating seductress Charlotte Rampling - young, sensual and dangerous , a jealous corrupt detective Stanton , an old alcoholic girlfriend Sylvia Miles in one of her two Oscar nominated performances, second - <more>
the shortest in the history of Oscars, for "Midnight Cowboy" , and a buffed thug Sylvester Stallone -- it was fun to see him before he became a star of Rocky and Rambo .This adaptation of Raymond Chandler novel features action, suspense, humor, mystery and Robert Mitchum in one of his best performances as a man struggling with cynicism, hatred, and betrayal.
A Truly Gorgeous, Vivid, Stylish Color Noir...Don't Prejudge it on 1940s Noir Terms! (by secondtake)
Farewell, My Lovely 1975 A Truly Gorgeous, Vivid, Stylish Color Noir...Don't Prejudge it on 1940s Noir Terms!This is a gorgeous surprise, a retreat forward, a 1940s drama not done in painful nostalgic pastel hues and soft edges, but in bold bright 1975 color and pitch dark shadow. You have to say the obvious and get it over with: yes, this is a modern "film noir." But it isn't a mere homage, nor a remake, nor a cheap imitation. Director Dick Richards, who has no other well known film to his credit, pulls a gem out of nowhere on this one. Just be sure to watch it for what it <more>
is, a dramatic period crime film, not for what you think it ought to be, a slavish remake of a classic noir. And he has the help of the perfect cinematographer for the subject, John A. Alonzo, who did both Chinatown the year before and eight years later, Scarface, both post-noir landmark crime films.Of course, this version of Farewell, My Lovely is, strictly speaking, a remake, which is to say, it's the third movie based on Raymond Chandler's 1940 novel of the same name. And inevitably we are going to compare to the other great version, Dmytryk's 1944 true, early film noir called Murder, My Sweet . I say other great version, because both are really fine films, and different enough to avoid copycatting. Farewell, My Lovely is actually the more original of the two, an irony after 31 years of influences. And in some ways it's better, mainly because it has Robert Mitchum very much in top form. He makes those beautifully concise and witty one liners seem real and fitting, as if people really did once talk like that. I wish they still did.There are countless bit parts that pump up the stylishness of the movie, most memorably Sylvia Miles playing a hard-drinking has-been. And she and Mitchum have great chemistry, not as lovers, but as people from opposite sides of life who have a similar perspective on things, and they chat and resonate like old friends. Compare this to the rougher, less involving scene in Murder, My Sweet. Velma herself is none other than Charlotte Rampling, probably a hair miscast because Rampling has some kind of severity that the noirish femme fatales don't, as a stereotype, share. And this movie deals with stereotypes.Mitchum above all. It's fascinating to see a movie that is meant to be fitting into a form well known enough to be able to both refer to in style and plot and to deviate from so we can feel it's original intent . And to have Mitchum, with his decades of great, strong, roles, anchor it all makes for a sweet, almost poignant experience. A similar feeling might be had in the remake of Cape Fear, but for my money, this is the more interesting movie, whatever the limitations of the plot, and the big thug. Go ahead, compare the Dmytryk version to this Richards one. If you haven't seen either one, watch the more recent one first to give it a full chance. You might go away surprised.