Lady in the Lake (1947)
Genre: Filmnoir
Duration: 105 minuten
Country:
United States
Directed by: Robert Montgomery
Stars: Robert Montgomery, Audrey Totter and Lloyd Nolan
IMDb score:
6,5 (7.004)
Releasedate: 19 December 1946
Lady in the Lake plot
"You and Robert Montgomery Solve a Murder Mystery Together!"
Because the work of private detective Marlowe does not yield much, he tries to sell his investigation in the form of a detective story to a publisher of pulp books. She now wants to hire him to find the boss's wife, who appeared to be sending a telegram from Mexico but had never been there. He understands that the publisher likes the boss, but still finds the case interesting.
Actors and actresses
Philip Marlowe
Adrienne Fromsett
Lieutenant DeGarmot
Captain Kane
Derace Kingsby
Mildred Haveland
Chris Lavery
Eugene Grayson
Receptionist
Artist
Reviews & comments
rensie32
-
- 4359 messages
- 1768 votes
Something different from the usual film noir. And I have to say that the film style worked out positively for me. You are sucked into the film because you can see everything the detective sees. The camera could have moved a bit more because it looked a bit static and went a bit slowly. I assume that Marlowe does not need 10 seconds to turn his head a quarter turn.
The surprising ending did it well for me. Two birds with one stone. Marlowe's dialogues could have been a bit more realistic in my opinion. The other actors did well and convinced me.
Just a good Sunday afternoon movie that I give 3.5 stars.
Translated from Dutch · View original
BASWAS
-
- 985 messages
- 1145 votes
Raymond Chandler always wrote the detective stories about Phillip Marlowe from the perspective of his own private eye. Maybe it wasn't such a good idea to apply that perspective to the film version of his "Lady in the Lake". In the long run it mainly just comes down to subjective use of the camera, the gimmick sometimes starts to manifest itself negatively while watching.
The film certainly owes a certain fame to this experiment. It also becomes clear that, while it works well in literature, this is not automatically the case in film. Experiencing everything only through the field of vision of a character is visually too restrictive and irritating. As a film viewer, you also want to be able to read the feelings of the first-person or main character from a face or through the body posture.
Yet this time, it is again a pleasure to enjoy Chandler's storytelling. The beautiful irony that is loosely scattered around, has hardly been lost in the film adaptation. Nor has the intelligent sharpness, which ensures that all the strange, loose parts in the complicated puzzle ultimately fall into a well-motivated place in the story.
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