Marlowe – A Gruff Throwback Crime Noir (Early Review)

Liam Neeson has appeared in so many similar films as of late that they’ve basically become their own subgenre therefore it’s notable whenever he appears in any film that is discerningly different from the rest. Meanwhile, true crime noirs don’t show up on screen that much anymore and if there was anyone that could carry one, it’s Neeson. Marlowe is a true throwback crime noir that brings back that vintage feel in terms of narrative and authenticity for better or worse. There’s plenty of good and bad to be had here but it’s all a matter of perception. That vintage feel may score some points for potential audiences, however, the film brings absolutely nothing new to the table as it follows the formula of the genre to a tee. While the twists and turns could come off as convoluted to some, it is still a somewhat compelling watch for the most part and Neeson definitely goes a long way in making it work. Lifted by one of his best performances in a long time, the film unfortunately loses steam by the end as it attempts to put all the pieces together.

Set in late 1930s Los Angeles, Marlowe of course follows Philip Marlowe (Neeson), a gruff private detective who found himself roped into a large scale conspiracy as a result of being hired be an heiress named Claire (Kruger) to find her ex-lover Nico (François Arnaud). Little did he know what he would find once he started kicking tires on what he believed to be a mere missing persons case. Marlowe quickly discovered that there was a lot more to that story as things weren’t always necessarily how they appeared as he uncovered drugs, murder, and corruption along the way. Getting to the truth, it became more than just a case for him and was a redemption of sorts. He was a man who had clearly gone through his fair share of ups and downs and this case was perhaps his way back up. Utilizing his lifetime of experience, Marlowe was a resourceful detective. His style and interactions with other characters over the course of his investigation were fun to watch. That investigation also meant plenty of twists and turns that were minimal in retrospect as the film became more about the man himself which was more interesting than his investigation.

As mentioned, Marlowe certainly looks the part from top to bottom. From its look, to its sound, to its dialog, the authenticity is there as it feels like a crime noir. If anything, the film does an admirable job at creating a compelling world that it should have tapped into more. There’s the flawed leading man in Marlowe, Claire as the primary femme fatale, her shady mother and famed actress Dorothy (Lange), and some acquaintances and other shady characters to advance the investigation. While the formula was there with a few surprises, the film was not without its moments that saw Marlowe in action both physically and mentally as he always seemed to find a way out of whatever predicament he got himself in. However, the closest he got to the end of the case and as the pieces started to come together, the film began to lose steam. The central investigation took a backseat to Marlowe from the middle up until that point and it remembering to end made the eventual ending anticlimactic.

Ultimately, the best part of Marlowe and the only thing that makes it work is Neeson’s performance as the titular detective. An arguably different performance than his countless previous action offerings, he fit as the grizzled and understated detective because that may be all he can do at this point. However, Neeson still does it well as his gravitas and presence seals it. He could still more than handle himself but on the other hand, it could easily be argued that he is sleepwalking through it. Besides a plethora of decent supporting performances from Kruger and Lange among many others who come in and out, this was Neeson’s film and he could still carry one.

At the end of the day, though marginally better than Liam Neeson’s last offerings, Marlowe is essentially more of the same but its noir feel may be enough of a differentiator for some audiences while fans of Neeson will be at home.

still courtesy of VVS Films

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Keith Noakes

The EIC of the coincidentally-named keithlovesmovies.com. A Canadian who prefers to get out of the cold and into the warmth of a movie theatre.