Film, video and television productions based on the character created by Raymond Chandler:
Director Irving Reis; writers Lynn Root, Frank Fenton; featuring George Sanders, Lynn Bari, Ward Bond
Also called Farewell, My Lovely
Director Edward Dmytryk; writer John Paxton; featuring Dick Powell, Claire Trevor, Anne Shirley
Director Howard Hawks; writers William Faulkner, Leigh Brackett, Jules Furthman; featuring Humphrey Bogart, Lauren Bacall
Director Robert Montgomery; writer Steve Fisher; featuring Robert Montgomery, Audrey Totter, Lloyd Nolan
Director Paul Bogart; writer Stirling Silliphant; featuring James Garner, Gayle Hunnicutt, Carroll O'Connor, Rita Moreno
Director Robert Altman; writer Leigh Brackett; featuring Elliot Gould, Nina Van Pallandt, Sterling Hayden
Director Dick Richards; writer David Zelag Goodman; featuring Robert Mitchum, Charlotte Rampling, Jack O'Halloran
Director Michael Winner; writer Winner, featuring Robert Mitchum, Sarah Miles
Robert Montgomery uses mirrors in Lady in the Lake to show himself, as Marlowe, through his own eyes.
Reflections of Marlowe
Many noteworthy actors have portrayed Philip Marlowe over the years in adaptations of Raymond Chandler's works—some true to the original Chandler character and some completely revisionist.
One of the oddest impersonations by a big-name star though is one in which the character disappears from our vision for all but a few seconds here and there.
Hollywood leading man Robert Montgomery directed himself as Marlowe in Lady in the Lake (1947), based on the Chandler novel of almost the same name. But we don't get to see much of his good looks. That's because he adopts an innovative—and ultimately annoying—way of filming.
Except for a brief prologue and epilogue, everything is shown only through Marlowe's eyes. So, in effect, we see the protagonist only when he looks in a mirror.
Sounds interesting. Sounds innovative. But in practice it leads to some quite awkward situations that distance the viewer.
Montgomery checks his Marlowe look.
Other actors have to interact with the Marlowe character in an artificial fashion. They have to keep telling us what the guy is doing: "Come in. What a nice blue-and-white checked suit you're wearing. You can sit over there. All right, stand if you want. Yes, that's a painting of my last duchess you're looking at. Don't touch."
Okay, I made that up. But Lady in the Lake does come close to self-parody at times. A kissing scene with Audrey Totter's lips approaching and eventually smothering the camera is reminiscent of a campy 3D horror film of the 1950s.
The story? Not bad as a whodunit. Pretty good actually, for maybe a television episode.
But so much time is required for weird camera movements—whenever Marlowe purportedly turns his head, for example—and with other people walking in and out of view that the usual problem of cramming a novel into a shorter medium is exacerbated. We get only the surface action with little complicating nuance.
There are some who considers Montgomery's laudable experiment a neglected masterpiece but, innovations aside, there's little depth here. We barely skim this lake, with or without a lady in it.