Alternate Best Actor 1975: Robert Mitchum in Farewell, My Lovely

Robert Mitchum did not receive an Oscar nomination for portraying Philip Marlowe in Farewell, My Lovely.

Farewell, My Lovely is a somewhat tepid, though not terrible, take on the Philip Marlowe mystery.

This film is a little strange within its period. It is a noir, but during the time of neo noirs. Unlike the other earlier Marlowe adaptation in the 70's, The Long Goodbye, which featured a subversion of the character and the whole idea of noir, this film plays it straight. Perhaps too straight in attempting to make the film as it probably would've been in the 40's or 50's, only with colored cinematography and the allowance of a bit more graphic content. The overall style though is that of a classic noir, which is a little strange for a 70's film. I would say this approach could have even lead to abject failure if not for one man. Well that brings me to my continued exploration into the career of the great Robert Mitchum. Now I specifically noted in my previous reviews of his memorable turns in the decade, Mitchum embraced his age and found success within that. This turn would seem contradiction in that path given the role is typically played by a much younger man, and probably would have made more sense if he had played the part in the 40's or 50's, when Mitchum was often the lead of a noir. Although the film might not quite know this, Mitchum actually does. His performance is particularly astute as he again wears his age into the role, that is just one of the most obvious intelligent choices he makes in his approach as the film opens.

Mitchum's performance is something of a wonder in how he seeks to make the film work despite its shortcomings at every turn. The film itself really is lacking in terms of capturing a proper noir style to grant the vibrancy one would want out of such a mystery. Mitchum though seeks to provide this style within his performance as Marlowe that beautifully embodies the genre. Mitchum physically plays the part with that smooth yet still haggard stature. A man very much bearing through long nights, and just has that iconic look about him to truly be Marlowe, even if a few years above the actual age of the character. This is further amplified by the obligatory narration that leads us through the various twists and turns of the plot, and a bit of insight into Marlowe's mindset throughout. A old trope, but so well realized not really by again how the film uses it rather by Mitchum's delivery of it. Frankly one could just listen to the film wholly as radio play by how much character Mitchum brings to every word. He creates the intrigue of the mystery, and captures the exasperation of the man so well. Again he does it with style, but also a real emotion within every twist and turn. Such narrations can quickly become ridiculous, particularly in a noir out of time and place, Mitchum nearly sets things right through his wonderfully nuanced take.

Of course Marlowe has to work the case and get into every little cliche in the noir book, well since the source material helped to define them, but again the film does it so earnestly it could become comical. Mitchum though again salvages it all through his approach that just so embodies the part that it doesn't matter that the film has absolutely nothing new to say within the genre. Mitchum takes us along in almost every part. This is whether he making his close calls with gunfire, a tense physical confrontation, the occasional drugging, being harassed by the police, or of course occasionally dealing with a few lustful women. Mitchum never lost or forgot the ways of the noir, in fact he sort of refines it here to an art form all of his own. The way Mitchum goes about any scene he brings you into his orbit that makes this point of the film that is compelling even if other things around him are a little clunky. Mitchum just commands these moments with this purity of the noir lead. That is in bringing just that certain sarcasm in his police interrogations, that daze in his eyes as he witnesses one double cross after enough though with just enough of glint to represent his own determination, and of course with all that overarching gritty suave manner behind it all needed to be such a hero. He even can lose that all in the drugging scene where Mitchum realizes the effects of the drugs, and the desperation of that moment brilliantly as well.

The one place that there is a bit of struggle though is in the lusty women. Well specifically Charlotte Rampling's femme fatale Helen Grayle, now don't get wrong Mitchum's easy going charm is as prevalent as ever when Helen tries to work her wiles on him, but his age does find one problem here. The problem being Mitchum, again, uses it to his advantage except for in these scenes where it makes the older man seem far too naive as the duplicitous woman seduces him, especially given the life one would assume he had lived. Mitchum is a better fit for the scenes he shares with the more age appropriate Sylvia Miles as the desperate Jessie Halstead Florian. Here Mitchum truly thrives in his knowing reactions where he brings a certain distance but also playfulness as interacts with her. He finds the right balance as sort of presenting his professional needs for the interaction, but with the right understanding of her not so hidden ulterior motives. Those are just examples of Mitchum's whole approach which is to be the first rate noir lead, for sort of a second rate noir film. What works about the film is Mitchum, but he actually sort of makes the film work. As I found it is easy to stay invested just by how pitch perfect Mitchum is as Marlowe. Although all the circumstances of the casting might not be ideal, Mitchum still proves himself to be a ideal as Philip Marlowe. It is a terrific performance as Robert Mitchum frankly elevates the film entirely to be worthy of the genre it is exists in.