tag:blogger.com,1999:blog-7119990365479009764.post4746011561257542282..comments2024-03-14T18:09:09.667-05:00Comments on Do Some Damage: Messing with IconsUnknownnoreply@blogger.comBlogger2125tag:blogger.com,1999:blog-7119990365479009764.post-91075897893762102172016-03-29T10:30:29.219-05:002016-03-29T10:30:29.219-05:00THE LONG GOODBYE is indeed fascinating in part bec...THE LONG GOODBYE is indeed fascinating in part because both its admirers and detractors have valid points. Either you don't mind or actually enjoy what Altman did with Marlowe or you don't, and that's pretty much it. I agree he's certainly not Marlowe as Chandler envisioned him. Altman did produce THE LATE SHOW a couple years later where the Art Carney character, Ira Wells, is what you're talking about. The old gumshoe a bit out of touch with the contemporary world, but he's an original creation.scott adlerberghttps://www.blogger.com/profile/10997101672313963063noreply@blogger.comtag:blogger.com,1999:blog-7119990365479009764.post-19564147846024737082016-03-29T10:10:49.430-05:002016-03-29T10:10:49.430-05:00Wow. Lots of good stuff here, and not just because...Wow. Lots of good stuff here, and not just because I agree with it. I loved THE SEVEN PERCENT SOLUTION and hate Altman's THE LONG GOOD-BYE for the reasons you describes, and I believe they dovetail well.<br /><br />Not to rehash what you said about Holmes—all of which is dead on—but what makes Meyer’s version work is that where he puts Holmes is a not illogical conclusion of a path Conan Doyle already charted. It’s not hard to believe Holmes loses control of his cocaine habit. A man who lives so much in his own thoughts may well find himself slipping over the edge without realizing it. As you said, no one but Holmes ever sees Moriarty. The core tenets of both Holmes an Watson are utilized by Meyer: they’re the same people.<br /><br />That’s my issue with Altman’s TLG. (Personal aside: I am, in general a big fan of Altman’s work.) I’ve read a lot of stuff about that film and understand what he set out to do; I don’t disagree with much of it. He had a great movie in mind. He could even have lifted the plot pretty much wholesale from the novel and made it work. There’s only one problem: that ain’t Marlowe. The character is fundamentally different. It’s not the same person. <br /><br />To me, if you want to take liberties, change the character’s name. Make the new story about how someone else would deal with the same situation. Change whatever, but any later adapters must remain true to the character they appropriate. They owe him—or her—that much.<br />Dana Kinghttps://www.blogger.com/profile/01350344882342624735noreply@blogger.com