The Big Sleep (1946) 1080p YIFY Movie

The Big Sleep (1946) 1080p

The Big Sleep is a movie starring Humphrey Bogart, Lauren Bacall, and John Ridgely. Private detective Philip Marlowe is hired by a rich family. Before the complex case is over, he's seen murder, blackmail, and what might be love.

IMDB: 8.06 Likes

  • Genre: Crime | Film-Noir
  • Quality: 1080p
  • Size: 2.17G
  • Resolution: / fps
  • Language: English
  • Run Time: 116
  • IMDB Rating: 8.0/10 
  • MPR: Normal
  • Peers/Seeds: 3 / 5

The Synopsis for The Big Sleep (1946) 1080p

The Big Sleep is the story of private investigator Philip Marlowe, who is hired by a wealthy general to find out and stop his youngest daughter Carmen from being blackmailed about her gambling debts. Almost immediately, Marlowe finds himself deep within a web of love triangles, blackmail, murder, gambling, and organized crime. With the help of the General's eldest daughter Vivian, Marlowe skillfully plots to free the family from this web and trap Eddie, the main man behind much of this mischief, to meet his end at the hands of his own henchmen.


The Director and Players for The Big Sleep (1946) 1080p

[Director]Howard Hawks
[Role:]Lauren Bacall
[Role:]Humphrey Bogart
[Role:]John Ridgely
[Role:]Martha Vickers


The Reviews for The Big Sleep (1946) 1080p


Classic Bogart-Bacall melodrama from Raymond Chandler novel...Reviewed byDoylenfVote: 7/10

I take exception to something that previous commentator David R. Baker of Missouri makes in reference to film music. He states: "The 1940s was not a great era for film music which makes Max Steiner's brooding score even more impressive." HE'S GOT TO BE KIDDING! Did he ever hear of Erich Wolfgang Korngold, Bernard Herrmann, Alfred Newman, Miklos Rozsa and Aaron Copland, all of whom did their best work in the 1940s? And Max Steiner himself was responsible for such outstanding scores as those for 'Casablanca', 'Now, Voyager', 'Johnny Belinda' and 'The Letter'. The others had a hand in 'The Song of Bernadette', 'The Sea Hawk', 'Citizen Kane', 'The Heiress', 'The Lost Weekend' and 'Spellbound', among many others. In fact, the 1940s is often referred to as The Golden Age of Film Composers. And another mistake, Bogey is Philip Marlowe--not Christopher Marlowe.

As for 'The Big Sleep', I agree, Max Steiner's score was an important ingredient. So are the quirky characters, including actresses Dorothy Malone (as an oversexed bookstore owner who seduces Bogey on a rainy day afternoon) and Martha Vickers as the thumb-sucking sister of Bacall, a nymphomaniac, whom Marlowe refers to as having tried to sit on his lap while he was standing up--just one of the punchy lines in the witty script. Confusion abounds everywhere in the plot that's as full of holes as swiss cheese--but who cares? It's all done in mock-serious style with the usual Warner Bros. finesse in black and white cinematography. Only jarring note is the script's insistence that every female in the cast sees Bogey as a sex symbol--something even Bogart would have found amusing since he never considered himself that much of a looker. He makes Philip Marlowe a believable enough character and the part fits him like a glove. After the preview, the studio added additional Bogart-Bacall scenes of hanky panky to give the film an added zing. It works!

Classic NoirReviewed byMatBrewsterVote: 9/10

Read all of my reviews at www.midnitcafe.blogspot.com This classic film noir has very few of techniques generally associated with noir. It contains no skewed camera angles; and though it is darkly lit, it is not overcome with murky, obscuring shadows. The hero is not down-and-out, poor, or desperate. There is no retrospective narration, or flashbacks. Yet, the Big Sleep is widely considered to be one of the very best of this genre. It is a cynical, perverse, murderous world filled with loads of confusing action and unknown motives. It is, in fact, one of the great films of one of the screens greatest actors (for my personal top 10 actors list, click here), and most talented directors.

It was directed by Howard Hawks fresh off of the successful pairing of Humphrey Bogart and Lauren Becall in To Have and Have Not. The two star here again and it is easy to see why they made another two films together. Based on a Raymond Chandler novel of the same name, many people complain that this film is incomprehensible. Somewhat famously it is reported that Bogart and Hawks, after arguing over who killed one of the characters, called up Chandler to get the correct answer. Chandler didn't have the slightest idea, for the novel is rather vague on this point. It's true that both the novel and film leave many plot points as to who did what to whom more than unclear, but there is so much style in both that it's hard to make a convincing argument against them.

A good deal of the confusion within the film comes from the production codes in effect at the time it was produced. Chandler's novel deals with murder, homosexuality, heterosexuality, and pornography. At the time, these things were deemed unfit to show on a movie screen and so Hawks had to hint at them using various subtle methods. For instance, when Carmen Sternwood (Martha Vickers) is found by detective Phillip Marlow (Bogart) in the novel she is completely nude and sitting posed for a hidden camera. Since pornography is explicitly against code, in the movie she is dressed in a silky, Japanese gown. There is still a hidden camera, and its missing film becomes a catalyst for much of the action in the film. We must infer from the exotic nature of the gown that there was more than just pictures of a woman in a gown going on. There are many similar instances in the film like this. For an audience member who has not read the book, they must pay close attention to the subtext, or the film will seem baffling.

Personally, I am very much a fan of the book, and all of Chandler's work. While I appreciate that some of the finer plot points are a bit vague in this film, I also understand that the film succeeds not in the details of the story, but in a sinister sense of style. The film oozes with a dark, disquieting atmosphere. Nearly everyone Marlowe meets is hiding something, and is of less than upstanding moral character. Hawks does a great job of keeping nearly every scene in the dark or in the rain, or both. There are so many characters coming in and out of the shadows and with their own shady character that it is difficult to keep up.

Bogart, of course, does a marvelous job as Marlowe. He seems to understand a lot more information than the audience is ever given. Chandler wrote Marlowe as a detective who sticks by his own set up morals, remaining somewhat of a noble creature trying to stay afloat amongst the muck and sewers of the city. Lauren Bacall does a very good job portraying Vivian Sternwood Rutledge, in a role that is much different than the one in the book. Like many films from this era, they create a romance that wasn't really in the source material. I don't mind though, because Bogart and Bacall really sizzle.

What can I say that hasn't been said before? This is really classic noir at its best. It's got Bogart and Bacall. It was directed by Howard Hawks, written by William Faulkner from a novel by Raymond Chandler. What more could a lover of classic cinema want? More reviews at www.midnitcafe.blogspot.com

Lots of murders never looked and sounded to goodReviewed bysecondtakeVote: 9/10

The Big Sleep (1946)

Even hardened film noir and Humphrey Bogart fans admit that this is one confusing movie. It makes sense, but it is edited down to such essentials, and it barrels along with the intensity of a bullet in a smoky canyon using overlapping dialog e and a shower of names, half of whom end up dead, it's really an impossible job for a mortal viewer.

And that's where it's aura, and magic, and legend, lie. It's a great film, and if it's flawed by its excessive velocity, it's defined by it, too. Enjoy Bogart as such, and Lauren Bacall for her sporadic appearances, and for Elisha Cook Jr. for a brief, wonderful splash. All the side characters, even the ones who are clearly only characters, are dripping with criminal drama. The photography is dark but never obscure, the action is fast but never unreasonable, and the lines are classic noir.

In fact, the dialog, if you are paying attention, is one of the gems of 1940s movies--really witty and cutting, and cunning. The movie is brilliant top to bottom, if only you could keep track of what was going on.

Suggestions: Read the plot in the Wikipedia entry before you watch the movie a second time. (The first time, just dive and and get lost. It's too much fun to care, if you can let go.) Watch Bogart's delivery, his physical presence, his wherewithal. Listen to Bacall sing (pretty darned good). Watch the amazing light and camera work (Sydney Hickox) with it's constantly moving perspective and layers of action. Follow the score (Max Steiner) which is appropriately restrained, turning just slightly when Bogart and Bacall are in scenes together.

Howard Hawks pulls of a quirky masterpiece here. You get to the end and frankly don't care too much, perhaps, about the outcome, about who survives and what their futures might hold. But that's fine, too. It might just make you want to watch it again. Good filmmaking does that.

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