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The Long Goodbye Chandler - Altman

You know what, Marlowe ?

you a little a rogue ... like me ...
Raymond Chandler The Long Goodbye

review continues, "But China's Literature" organized by Blow Up Groton and on the relationship between cinema and literature.


Tuesday, February 8 at 21:30 a new race of the host to the City of Groton Municipal Gallery, located in the Palazzo della Biblioteca Comunale. This is an evening of approach to literary text and film and profilmic in the program,

The long goodbye Raymond Chandler, the book
The Long Goodbye Robert Altman movie.

The program includes readings, comments, thoughts, sequence analysis, to understand the mechanisms adopted by directors and screenwriters in the always difficult but fascinating work of film adaptation. Media will follow the discussion in the following Tuesday, February 15 , the integral projection of the film in question at the Hall Kursaal.La altmaniana version of the novel of mystery writer Raymond Chandler is one of the most poignant examples of the possibility of to reinterpret and reinvent cinema with its own rules the printed page. La destrutturazione letteraria proposta da Chandler si traduce in Altman in destrutturazione filmica con una forte e ironica critica alle regole e alle figure del cinema classico: è questo forse il lungo addio cui alludono i titoli delle due opere? Un prendere le distanze dai modelli consolidati?

Ad accompagnare il pubblico durante la serata  ci saranno, oltre agli animatori di Blow Up (Tommaso La Selva, Fabrizio Leone, Giovanni Massa e Sergio Vallorani) Filippo Massacci (di Leggere 54), e le letture di Fernando Micucci

Tutte le serate della rassegna sono ad ingresso gratuito con tessera-abbonamento F.I.C. rilasciata dall’Associazione Culturale BLOW UP (costo della tessera F.I.C. Blow Up € 5)

The "boys" Black mask - second from left standing Chandler, Hammett first from right standing

In the Twenties Thirty and prospered in the United States a unique magazine.
was called "Black Mask" , was directed 'energy, even imperious, Captain Joseph T. Shaw, convinced of having to spread a new kind of detective fiction that is not rifacesse the old, threadbare, monotonous traditional schemes, such as the crime free event, searching for the culprit as a game of patience, literature as mere escapism. In assuming the leadership of that magazine never before read Captain Shaw had declared its intention to change everything, and had kept his promise. His favorite author was Dashiell Hammett, a former Pinkerton Detective Agency who was forced by tuberculosis to leave the hard job, he took to survive, to put down on paper the adventures happened to him or his colleagues. Other authors have followed the example of Hammett. And Captain Shaw was soon picked up in his magazine about the best of Hammett detective fiction action, the authors great and small which would be defined
"the hard-boiled school, the school of hard knocks."
Some of them, starting right from Hammett, were true hard.
least no one: the newest, Raymond Chandler.

Chandler Marlowe on

... Art should always be a principle of redemption. It may be pure tragedy, if tragedy is high, it may be irony, pity or the bitter laughter of the fort. But on the streets of criminals to walk a man who is not a criminal, not a flask, which is not a coward.
realistic man is in police detective. He's the hero, is all.
a complete man, an ordinary man but a man as if he just met.
must be, to use a little abused, a man of honor, by instinct, by necessity, due to the inability to degenerate. It must be without thinking, and certainly never parlame too.
(article for The Atlantic Monthly, December 1944).

The long good bye

... I am sending you today the draft of a story I called The Long Good-Bye.E 'in 92,000. words. I'll be happy to receive your comments and objections, and so on. I did not even re-read, if not to make any corrections and control a number of details that I asked my secretary. So, do not I send you my opinion. You form your by yourself, reading, little by little.
For some time I was clear that the annoying thing in detective stories, at least in literary terms, is that the characters fall by the wayside - at least one third of them. Often the opening, the mise en scène, the environment, are very good. Then the plot gets more complicated, and the characters become mere names. Well, you can do to avoid it? You can write a history of constant action, and, if fun, that's great. But, alas, becomes large, it becomes complicated and insecure, the moral dilemmas begin to affect more than what we want to know who gave a blow on the head to whom. And at this point perhaps one should withdraw and leave the field to young people, the simplest. I'm not saying necessarily fumettacci writers, like Mike Spillane.
However I wrote this as I wanted, because now I can fario. I did not care if there was no enigma, I care of the people of this strange world we live in corrupt, and the fact that every man who tries to be honest appears at the bottom or sentimental or simply stupid ...
Letter to Bemice Baumgarten, May 14, 1942).