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Features: DVD, Widescreen, Aspect Ratio 2.35:1, English, French, Dubbed & Subtitled, Spanish, Subtitled
Los Angeles private eye Philip Marlowe (Elliot Gould) faces the most bizarre case of his life, when a friend's apparent suicide turns into a double murder involving a sexy blonde, a disturbed gangster and a suitcase of drug money. But as Marlowe stumbles toward the truth, he soon finds himself lost in a maze of sex and deceit--only to discover that in L.A., if love is dangerous... friendship is murder. Elliott Gould "gives one of his best performances" (Esquire) as a quirky, mischievous Philip Marlowe in Robert Altman's "fascinating and original" (Newsweek) send-up of Raymond Chandler's classic detective story. Co-starring Nina Van Pallandt and Sterling Hayden and written by Leigh Bracket (The Big Sleep), The Long Goodbye is "a gloriously inspired tribute to Hollywood" (The Hollywood Reporter) with an ending that's "as controversial as is it provocative." (Los Angeles Times)
"A knockout of a movie!" Pauline Kael, The New Yorker
"Subversive and engaging, The Long Goodbye ranks among Altman's best." Bill Chambers, Film Freak Central
"...laser-sharp irony and broad jokiness..." Michael Thomson, BBCI Film Reviews
Editor's Note
Director Robert Altman, famous for his ability to turn any genre inside out, takes aim at film noir with this evocative adaptation of Raymond Chandler's novel. Altman's Philip Marlowe (Elliott Gould) is a relatively unsuccessful private eye living and working in 1970s Los Angeles. Stepping into the shoes of the notorious detective, Gould delivers a captivating performance that is the definition of '70s hip: he spends the entire film mumbling to himself, smoking cigarettes, and making wisecracks to everyone he encounters. This time around, Marlowe decides to investigate the supposed suicide of his friend Terry Lennox (Jim Bouton). At the same time, he's hired by Lennox's beautiful neighbor, Eileen Wade (Nina Van Pallandt), to track down her husband Roger (Sterling Hayden), a successful author and belligerent alcoholic. Slowly, the mystery begins to reveal itself, as Marlowe discovers that Eileen's relationship with his dead friend was more than merely casual. All the while, Marlowe must contend with police, a psychopathic gangster (Mark Rydell), and a host of other characters and situations that make up the hazy existential malaise that is the world of THE LONG GOODBYE.Altman's particular brand of filmmaking hits stride with this brilliant revisionist noir thriller photographed by the great Vilmos Zsigmond (MCCABE & MRS. MILLER, HEAVEN'S GATE). John Williams' score consists of several ironic variations on the title composition, which provides the film with an added comic punch.
| Features | Interactive Menus | | Scene Access | | Radio Spots | | Original Theatrical Trailer | | Subtitles: English, Spanish, French | | "Rip Van Marlowe" Featurette with Robert Altman and Elliott Gould | | "Vilmos Zsigmond Flashes The Long Goodbye" American Cinematographer Reprint of the 1973 Article |
| Technical Info
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Release Information
| | Studio: MGM |
| Release Date: 9/7/2004 |
| Running Time: 112 minutes |
| Original Release Date: 1973 | | Catalog ID: 1003775 | | UPC: 00027616879004 | | Number of Discs: 1 |
Audio & Video
| | Original Language: English | | Available Audio Tracks: English, French Dubbed | | Available Subtitles: English, French, Spanish | | Video: Color |
| Cast & Crew
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| | Professional Reviews | Sight and Sound
"...Once again with THE LONG GOODBYE, Altman has found the right form to render a state of chaos..." 12/01/1973 p.51-2Total Film
"...Subverting genre to telling effect, Altman ensures that the values of his central character are at odds with his society's cynicism....One of Altman's finest achievements..." -- 5 out 5 stars 02/01/2001 p.92 USA Today
"...[A] cult classic..." 09/19/2002 p.5D Uncut
"Altman's movie leaves a deliciously sour aftertaste." 01/01/2005 p.82 Laser Disc Review 7 of 10
...Elliott Gould is Marlowe, and now that Gould's career is pretty much in full view it is easier to recognize how well Altman utilized him and how exceptional his performance is compared to his other work. Most important, however, there is Altman's own narrative style, which seemed topically foggy in the early seventies, but now appears far more precise in its exchange of plot for mood and personality, building the clues of the mystery with emotion instead of facts. - Doug Pratt
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