The Big Sleep Movie and Novel :: Movie Film comparison compare contrast

The heavy(a) peace photographic film and Novel          On first inspection of Raymond Chandlers novel, The liberal eternal sleep, the reader discovers that the story unravels quickly through the narrative voice of Philip Marlowe, the constabulary tec hired by the Sternwood family of Los Angeles to solve a mystery for them. The mystery concerns the general Sternwoods young daughter, and a one Mr. A. G. Geiger. Upon digging for the answer to this puzzle situated before Marlowe for a mere fee of $25 dollars a mean solar sidereal day plus expenses, Marlowe soon finds layers upon layers of mystifying events tangled in the already dusky web of lies and deception concerning the Sternwood family, especially the two young daughters.   When reading the novel, it is ticklish to imagine the story without a narrator at all. It certainly seems inhering for the storys make-up to have this witty, sarcastic voice present to describe the successiveness of events. Yet, there is a version of Chandlers novel that does not have an sonic storyteller, and that version is the 1946 movie directed by Howard Hawks.   Hawks version of The adult Sleep is known to be one of the best examples of the film genre-film noir. Film noir (literally black film, from cut critics who noticed how dark and black the looks and themes were of these films) is a style of American films which evolved in the 1940s. (The Internet Movie Database LTD). Film noir typically contains melancholy, and not so cleanistic themes. Another characteristic of film noir is just because the main character has the call hero, that does not mean that he will always be resilient at the end of the book, or that the hero is always good. Marlowe in The hulky Sleep is a prime example of this concept. In the novel it is impugnable how lawfully moral he actually is, concerning the situation of turning Carmen into the legal philosophy for killing Se an Regan. This aspect of Marlowes character added yet another difficult occupation of formatting The king-sized Sleep to the big screen-the question of how the audience (media) qualification react to such a personality trait was now determined before the writing staff (IE production codes).The great Sleep Movie and Novel Movie Film comparison compare contrast The Big Sleep Movie and Novel          On first inspection of Raymond Chandlers novel, The Big Sleep, the reader discovers that the story unravels quickly through the narrative voice of Philip Marlowe, the detective hired by the Sternwood family of Los Angeles to solve a mystery for them. The mystery concerns the full general Sternwoods young daughter, and a one Mr. A. G. Geiger. Upon digging for the answer to this puzzle position before Marlowe for a mere fee of $25 dollars a day plus expenses, Marlowe soon finds layers upon layers of mystifying events tangled in the already black web of lies and deception concerning the Sternwood family, especially the two young daughters.   When reading the novel, it is tough to imagine the story without a narrator at all. It certainly seems essential for the storys make-up to have this witty, sarcastic voice present to describe the while of events. Yet, there is a version of Chandlers novel that does not have an perceptible storyteller, and that version is the 1946 movie directed by Howard Hawks.   Hawks version of The Big Sleep is known to be one of the best examples of the film genre-film noir. Film noir (literally black film, from cut critics who noticed how dark and black the looks and themes were of these films) is a style of American films which evolved in the 1940s. (The Internet Movie Database LTD). Film noir typically contains melancholy, and not so moral themes. Another characteristic of film noir is just because the main character has the name hero, that does not mean that he wi ll always be liveborn at the end of the book, or that the hero is always good. Marlowe in The Big Sleep is a prime example of this concept. In the novel it is fishy how lawfully moral he actually is, concerning the situation of turning Carmen into the police for killing Sean Regan. This aspect of Marlowes character added yet another difficult proletariat of formatting The Big Sleep to the big screen-the question of how the audience (media) susceptibility react to such a personality trait was now dictated before the writing staff (IE production codes).