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"Robert Altman's The Long Goodbye attempts to accomplish a very interesting factor. It tries to become all genre no story It creates no serious effort to replicate the Raymond Chandler detective novel it simply takes all of the characters out of this novel and enables them stew collectively in something that feels as though a private-eye film." - ROGER EBERT (REVIEW) The time of American cinema between 1965 and 1975 created many films that nearly totally restructured classical Hollywood’s approved genre conventions. An excellent example of this might end up being Robert Altman's iconoclastic undertake Raymond Chandler's Philip Marlowe in The Lengthy Goodbye (1973), a detective film predicated on the final reserve in Chandler’s Philip Marlowe series. Altman, who's known for turning around traditional genre conventions, revises and reinvents the film-noir style made well-known by Dick Powell in Murder, My Nice (1944), Humphrey Bogart in The Big Sleep (1946), and Robert Montgomery in Woman in the Lake (1947). The actors and the movies in the 1940’s film-noir period conformed to genre conventions, and it wasn’t until Robert Altman directed Elliot Gould’s Philip Marlowe in The Long Goodbye that the detective genre acquired changed. It is extremely interesting to note the way the conventions of 1940’s hardboiled private attention fiction result in the 1970’s. The low-lease drabness of the genre loses a lot of its allure. The dark shadows and lengthy nights of urban LA become the bright lamps and warm sunshine of Malibu beaches. The detective’s snappy dialogue becomes joking asides normally. Marlowe’s hardboiled narration becomes the self-conscious mutterings of a lonely man speaking with himself. The passionate myth of a guy set apart from the town is fired up its mind as a pathetic guy living alone along with his cat. Elliot Gould performs detective agency Philip Marlowe, who uses his smart-aleck detachment carried along by an all natural wave of 1970’s California that Altman exercises for both humour and sociable commentary. Rich drunks, drugged out youth, multicultural gangsters touching their heritage and their emotions, people willing to use their close friends, all show a self-obsessed society, a potent power as relevant in the 1970’s as the ever-present title song. Originally, Hollywood backed Altman, the eccentric director of M.A.S.Nashville and h, in the hopes a gritty detective film would cash-in on the...