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This 10 page paper discusses the work of American director Robert Altman in his film The Long Goodbye, and compares it to that of Jean-Luc Godard in his classic A Bout de Souffle (which we usually translate as Breathless). Bibliography lists 4 sources.
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Godard, and Claude Chabrol, the films were unlike anything ever seen before. Gritty, violent, frequently nihilistic, they were so different that they have influenced directors ever since. This
paper discusses the work of American director Robert Altman in his film The Long Goodbye, and compares it to that of Jean-Luc Godard in his classic A Bout de Souffle
(which we usually translate as Breathless). Why do these films still hold up? (Breathless-the original, not the terrible Hollywood remake-was re-released in 2000, 40 years after its first
appearance. That film has "legs"!) The Films Lets start with Altman first. The Long Goodbye is a detective story that features "hardboiled" private eye Philip Marlowe.
Marlowe is the brainchild of writer Raymond Chandler, and probably the quintessential tough guy detective. Hes smart, aloof, unflappable, and moves easily through the urban jungle of contemporary
Los Angeles. Hes been appearing in the movies for years, with both Dick Powell and Humphrey Bogart turning in great performances as the character. But when film noir
as a genre faded away in the late 1950s, so did films like The Big Sleep and Lady in the Lake, both of which featured the character. In 1973, Robert
Altman dusted Mr. Marlowe off and brought him back, but his vision was very different from the earlier films. This Marlowe was a doppelganger for Altman himself, "an outsider who
seemed to relish being a pariah ... a man who made the lack of trappings of success into proof of his own integrity" (Hagopian). In 1950, Chandler wrote about
a world in which gangsters rule: "It is not a very fragrant world, but it is the world you live in, and certain writers with tough minds and a
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