A Comparison of Two Versions of The Big Sleep Essay -- Big Sleep Essay

A Comparison of Two Versions ofThe king-size nap The Production Code flacked to censor sex and violence in learn of the 1930s and 40s. Instead of impairing, it encouraged theater directors to use artistic ideas and integrity to lead the viewers expectations -- actively involving them in the lease despite Hollywoods censorship. Howard Hawks is one such director who used the restrictions of the Production Code to his advantage. His screen adaptation of the Raymond Chandler novel The Big Sleep portrays the same amount of sexuality and violence apparent in the written word, using a distinctly subtle style, which develops broader themes. Comparisons with the extremely wash 70s remake by Michael Winner further suggest the superiority of Hawks involve noir. While Hawks masterfully creates an original world of sexuality and suspense, Winner unsuccessfully focuses on violent and sexual images in a vain attempt at filmmaking. There is not a trace of nudity in Hawks The Big Sleep, yet it thrives on sex. The viewer will not contract a glimpse of a furthertock, nipple nor a whole breast. This scarceness of skin is attributed to the superb screenplay writers Leigh Brackett, William Faulkner and Jules Furthman. They depict a charming Marlowe, played by Humphrey Bogart, interacting with various frisky femmes exhibiting innuendo that brilliantly illuminates the screen. Marlowe and the Acme Bookstore salesclerk flirt with an elegance even the slyest viewer would envy. The scholastic seductress flashes her beautiful eyeball at him saying, You begin to interest me, vaguely. Bogies response -- Im a private gibe on a case. With a loud, tumultuous clap of thunder, the audience sits implode upright, anticipating the sultry shenanigans to ... ...blood trickles down their faces. There is no cohesion between the oddment scenes Eddie Mars does not die in this version, so there is no build up or statement made. At a foremost glance, it is obvious th at the two films, with 32 years between them, are quite different in style and theme. No matter when the film is viewed, Howard Hawks film engages the audience presenting interesting themes in a sleek, stylistic fashion. His version whitethorn contain a limited amount of bare skin and violence, but proves that these inclusions are unnecessary if the film has voice and counselling. To Winner, there is no direction or voice. He makes a hollow shell of a film extracting Chandlers exact scenes, harnessing the nudity and violence instead of the deeper themes that stand out in Hawks.Works ConsultedChandler, Raymond. The Big Sleep. New York Random House, 1939.