The Big Sleep Movie and Novel :: Movie Film comparison compare contrast

The voluminous Sleep Movie and Novel          On initiatory inspection of Raymond Chandlers novel, The Big Sleep, the reader discovers that the story unravels quickly through the memorial voice of Philip Marlowe, the detective hired by the Sternwood family of Los Angeles to solve a brain-teaser for them. The arcanum concerns the General Sternwoods schoolgirlish daughter, and a one Mr. A. G. Geiger. Upon digging for the assist to this puzzle placed before Marlowe for a mere fee of $25 dollars a day plus expenses, Marlowe soon finds layers upon layers of mystifying events tangled in the already mysterious web of lies and deception concerning the Sternwood family, especially the two vernal daughters.   When reading the novel, it is hard to imagine the story without a narrator at all. It certainly seems essential for the storys make-up to have this witty, sarcastic voice fork up to describe the sequence of events. Yet, there is a sport of Chandlers novel that does non have an audible storyteller, and that random variable is the 1946 movie directed by Howard Hawks.   Hawks version of The Big Sleep is known to be one of the best examples of the strike genre-film noir. Film noir (literally black film, from French critics who noniced how dark and black the looks and themes were of these films) is a title of American films which evolved in the 1940s. (The Internet Movie Database LTD). Film noir typically contains melancholy, and non so moral themes. Another characteristic of film noir is just because the master(prenominal) character has the title hero, that does not mean that he will continuously be alive at the end of the book, or that the hero is forever and a day good. Marlowe in The Big Sleep is a prime example of this concept. In the novel it is motionable how lawfully moral he actually is, concerning the circumstance of turning Carmen into the police for killing Sean Regan. This aspect of Marlowes character added yet some other(prenominal) difficult task of formatting The Big Sleep to the big screen-the unbelief of how the audience (media) might react to such a personality mark was now placed before the writing staff (IE production codes).The Big Sleep Movie and Novel Movie Film comparison liken contrast The Big Sleep Movie and Novel          On starting time inspection of Raymond Chandlers novel, The Big Sleep, the reader discovers that the story unravels quickly through the annals voice of Philip Marlowe, the detective hired by the Sternwood family of Los Angeles to solve a mystery for them. The mystery concerns the General Sternwoods young daughter, and a one Mr. A. G. Geiger. Upon digging for the coiffe to this puzzle placed before Marlowe for a mere fee of $25 dollars a day plus expenses, Marlowe soon finds layers upon layers of mystifying events tangled in the already mysterious web of lies and dec eption concerning the Sternwood family, especially the two young daughters.   When reading the novel, it is hard to imagine the story without a narrator at all. It certainly seems essential for the storys make-up to have this witty, sarcastic voice read to describe the sequence of events. Yet, there is a version of Chandlers novel that does not have an audible storyteller, and that version is the 1946 movie directed by Howard Hawks.   Hawks version of The Big Sleep is known to be one of the best examples of the film genre-film noir. Film noir (literally black film, from French critics who noticed how dark and black the looks and themes were of these films) is a bearing of American films which evolved in the 1940s. (The Internet Movie Database LTD). Film noir typically contains melancholy, and not so moral themes. Another characteristic of film noir is just because the primary(prenominal) character has the title hero, that does not mean that he will endlessly be alive at the end of the book, or that the hero is of all time good. Marlowe in The Big Sleep is a prime example of this concept. In the novel it is questionable how lawfully moral he actually is, concerning the berth of turning Carmen into the police for killing Sean Regan. This aspect of Marlowes character added yet another difficult task of formatting The Big Sleep to the big screen-the question of how the audience (media) might react to such a personality distinction was now placed before the writing staff (IE production codes).