I want to be Philip Marlowe. Or maybe Nick Charles. My favorite kinds of movies are film noir, particularly the hard-boiled detective genre. I love the interplay of shadows and light in black and white. I love the cynical worldview, the disdain for scruples, morals and basic decency. I love that the characters drink rye and gin, smoke Chesterfields, wear fedoras and ties, consult the phone directory for research and do any number of other terribly old-fashioned things. I love the women – tall, thin, legs for miles, usually dressed in black and up to no good.
But, mostly, I hero worship the gumshoe protagonists. The hard-boiled detective is the ultimate male fantasy. He is how we would all like to envision ourselves: suave, a sense of style, quick-witted and sarcastic, a healthy appetite for liquor that actually serves to sharpen his senses, seemingly irresistible to women, knows when he’s being played and always saves the day. Dashiell Hammett, the ultimate master of the genre, acknowledged this male fantasy aspect in the creation of one of his most famous characters, Sam Spade:
“Spade has no original. He is a dream man in the sense that he is what most of the private detectives I worked with would like to have been and in their cockier moments thought they approached. For your private detective does not, or did not ten years ago when he was my colleague, want to be an erudite solver of riddles in the Sherlock Holmes manner; he wants to be a hard and shifty fellow, able to take care of himself in any situation, able to get the best of anybody he comes in contact with, whether criminal, innocent by-stander or client.”
The protagonist from Hammett’s early novels, the nameless Continental Op, was just such a Holmes-like solver of riddles. These – “The Dain Curse” and “Red Harvest” – are true mystery novels, emphasizing clues and plot twists over character, as the Continental Op has none. It was with Spade in “The Maltese Falcon” that the detective story developed true heroes. The detective hero in Hammett’s final novel, Nick Charles, has character in spades. Seen as a mash note to his lover Lillian Hellman, “The Thin Man” presents a male fantasy of a committed relationship: to a saucy heiress half his age, who mixes his drinks, massages his shoulders, countenances a fair amount of hanky panky with the novel’s femme fatales and helps him compile the clues to the mystery.
Raymond Chandler, the author who is credited as carrying Hammett’s hard-boiled mantle, did not improve upon his predecessor’s economy of words nor his gripping plots, as most of Chandler’s stories were obvious and perfunctory. But he did create the ultimate Hollywood detective: Philip Marlowe. With a back story that involves getting fired from the D.A.’s office for political reasons, Marlowe has charm of the renegade hero that Hollywood has been trying to imitate in action and adventure movies ever since. Always too quick to mouth off to cops and criminals, Marlowe frequently takes his punches and his nights in the clink. His bottle of whiskey is conveniently available to loosen up a suspect or an already loose woman. Usually hard up for cash, he nevertheless passes up opportunities to shake down his clients and often shields them from the wives, daughters and mistresses who are scandalizing them. Still, he’s no softie (“I don’t like your manner, Mr. Marlowe.” “That’s all right. I’m not selling it.”).
Playing Marlowe in the movies is a kind of drag. The early actors – Robert Montgomery, Dick Powell, George Montgomery and the best of the lot, Humphrey Bogart – played him as the traditional tough guy of noir stereotype. James Caan played an older, wearier Marlowe in “Poodle Springs.” Robert Mitchum brought his unique brand of cool to a British adaptation in the 1970’s, perhaps because the stiffness and properness of the 1940’s U.S.A. could only be recreated in the 1970’s by transporting the tale to England. Elliott Gould, also in the 70’s, played Marlowe as a man out of time in sunny L.A. That portrayal, in Robert Altman’s “The Long Goodbye” is perhaps most intriguing for the purposes of this article. Following his iconoclastic “M*A*S*H*,” it was hoped that Altman would do for noir genre what he did for the war movie and make a kind of a “Trapper John, PI.” While Gould maintains his roguish charm, Altman maintains a certain reverence for the Marlowe archetype. He tips his hat to the nudists next door and refuses to loosen his tie even on the beach. All the characters around him tease him for his old-fashioned ways.
The film was not a success, although a recent revival at the Film Forum landed Elliott Gould on the cover of the Village Voice decades after his curious period as a smart-ass Jewish matinee heartthrob. Instead of a revival of noir, the 1970’s saw the rise of Dirty Harry and other vigilante heroes, who in turn gave rise to that loathsome archetype, the action hero. In place of black suits and fedoras, we get ripped t-shirts and bulging muscles. In place of flirtatious banter and crossed legs, we get an inarticulate bodybuilder gnawing on some starlet’s tits at around the 50 minute mark in a well-choreographed bedroom romp. In place of investigation and deduction, we get explosions and lots of them.
Why has the action hero replaced the hard-boiled detective as the male fantasy? I would chalk it up to sort of generalized anxiety that men feel about their role in society these days, except that the hard-boiled fantasy is also about being in control (of the situation, of life, of women). Maybe the difference between the two stock types is too little to fret over, and I’m just guilty once again of being nostalgic for a time before I was born.