Rating: 
Summary: imperfect, but amiable enough to hang with
Review: I'm a bit conflicted when it comes to Robert Altman's adaptation of Raymond Chandler's "The Long Goodbye." While their individual sensibilities are totally at odds with one another, I think both men are unique, flawed geniuses. Maybe that's why, while I understand why detective novel purists often claim Altman violated the basic elements of Chandler's work, I think this is an immensely enjoyable film, even though it kicks and strains and pulls away from its source material as casually as it can. Elliott Gould plays Phillip Marlowe as a mumbling, slightly spaced-out chain-smoker and the camera tends to glide along after him like a slow-poke friend. This, of course, works against the shrewd economy of Chandler's original narrative. And just in case the languid pace makes you forget you're watching a movie, Altman's constant in-jokes and a running gag involving the title song lean into the frame every so often to refresh your memory. This isn't a perfect film and it's not for everybody -- it's nowhere near as focused and energetic as the Gould/Altman collaberation, "California Split," that arrived two years later. And toward the end of the movie, the film seems to lose its bearings around the time Marlowe finds his buried anxiety and actually begins whining. The final scene (which I won't go into for those who haven't seen "The Long Goodbye") feels like a Peckinpah grab and not just becase the editor, Lou Lombardo, cut "The Wild Bunch," either, though the slow motion bullet impact and flying body don't help. But there's so many good parts here it's easy to forgive the whole -- the crazy opening sequence with the cat food and the grocery store; the trick Marlowe plays on Harry the Hood; Henry Gibson's creepy Dr. V.; Sterling Hayden's frustrating but amazing hell or high water performance; Marty Augustine's little monologues about love, fear and forgiveness. I read yesterday that "The Long Goodbye" will be out on DVD soon and that's great news because this is a quintessential widescreen movie, and my letterboxed copy, taped off TCM and edited for broadcast (which means my version barely glances at the nudists next door), is so worn out, it's about to meet a long goodbye of its own.
Rating: 
Summary: An underappreciated Altman movie
Review: Certainly one of the best movies of the last 30 years, but unfortunately not appreciated as such. Do not judge the movie on your first viewing. It operates on a number of levels and the wonderful interplay of characters and plot gets richer each time the movie is seen. The bit with Gould trying to substitute an "off" brand of food for his cat is wonderful. Mr. Gould has had more bad roles than good ones in his career, but this must be his high point. Jim Bouton, of NY Yankee and "Ball Four" fame, does a very credible job in what I think was his first (and last) stint as an actor. And as wooden as she is, it is fun to watch Nina Van Pallandt. You'll thank me for turning you on to this movie.
Rating:
Summary: Elliott Gould is the Greatest of all Marlowes!
Review: An updated tale of Raymond Chandler's hard-boiled hero adrift in Robert Altman's floaty, loose Los Angeles. Marlowe investigates his friend Terry Lennox's supposed suicide, and the private eye finds himself menaced by a terrifying gangster and embroiled in the bizarre events at the home of a Hemingwayesque writer and his ice-queen (remember this is an Altman film!) wife. The cinematography, the story line, the quality of the acting, and above all the brilliant direction make this to be a haunting, unforgettable and totally fascinating film. You'll love it! I saw this movie 28 years ago, and it just gets better with time. And Elliott Gould is awesome!
Rating: 
Summary: Elliot Gould isn't GOOD.
Review: This film, plays ARNOLD SCHWARZENEGGER as a body builder in the locker room. His role is small. Even so, I found this film boring. THE LONG GOODBYE (1973) Rated: R 1 1/2 stars out of 5.
Rating: 
Summary: Good Genes Don't Fix Everything
Review: THE LONG GOOD-BYE comes from a championship bloodline. Like the Kennedy teeth and jaw line, it has scenes in which you recognize its heritage, that being Altman. For that it gets some points, but that alone can't keep it afloat. The concept of mixing up Raymond Chandler's classic hardboiled detective character Philip Marlowe with 70's Los Angeles must have looked good on paper but in execution it is hazy. Part of the problem is that Elliott Gould's Marlowe is half 70's mentality and a whiff retro, thus killing the irony of contrast with the times. Women do not fare well in this film: they are topless hippies, brutalized mistresses or, possibly, bad guys. Drippy. When it comes down to it, the only moral touchstones in this flick--and every story needs at least one--are the cat and the dog, and they aren't in enough scenes. If you want a thriller and a more evocative retro/present look at LA, as well as a name brand of sorts, get Kenneth Brannagh's DEAD AGAIN. If what you want is more Altman, then knock yourself out with this.
Rating: 
Summary: Typical wrong-headed Altman effort...
Review: Like most, or maybe all, of Robert Altman's films this one tries hard for casual hipness that with time really defines Hollywood Square. This movie seems so hermetically sealed up in coy attitudes & kool moods & stylish settings while flaunting Altman's usual nasty misogyny (this time a coke bottle smashed in a woman's face - nice touch), it's an embarrassment.
Rating:
Summary: Surely the best American movie of the 1970s?
Review: In recent years, critics have tried to 'defend' Robert Altman and 'The Long Goodbye', suggesting that he wasn't trying to negate Chandler's Philip Marlowe after all, but showing how out of touch his values were in the corrupt 1970s. But the whole point of Chandler's Philip Marlowe was that he was out of time, a knight in an era of gangsters and bent cops. Marlowe was the first detective not central to, or with a purchase in, the society he operated in - no matter what victories he snatched, the rot would continue. Marlowe's only way to remain central was to tell his own story - at least he could dominate that. It is clearly Altman's intention not to show Marlowe's ananchronistic idealism (those shots where he's dwarfed, Canute-like, by the tide), but his irrelevance, extinction. There is a complex play of reflections throughout that serves to turn Marlowe into a shadow, with no hope of dominating his life, never mind a plot in which he is permantly in the dark. The climax is shocking, not because 'Marlowe would never do that', but because he is essentially killing himself, his double (see that opening sequence, and the punning on cats) admitting the impotence of his code. A superlative film worthy of superlatives - best ever adaptation of a Chandler book; best film and performance of the 1970s. The ingenious, anti-realistic variations on the theme song alone, matching the moving camera vortex, are the stuff of genius.
Rating:
Summary: an atrocity
Review: This is a sloppy, unfunny, pointless exercise in stoned 70's nonsense. Actually, Arnold in his grandma skivvies was funny.
Rating:
Summary: Altman genre revisonism at his most sublime
Review: The Long Goodbye is vintage Altman. It ranks not only as one of his best works, but one of the best films of the 1970s. Ignore the negative comments, this is supposed to be an updating of Chandlers character Philip Marlowe to a more contemporary setting which was the whole point and Altman does it very cleverly in the most unexpected ways. Elliot Gould truly shines in his interesting interpratation of Marlowe. Seemingly lacking the confidence and self assurance of Humphrey Bogart ( "It's Okay with Me"), Gould more than makes up by proving himself with his wit which remains firmly intact from how Chandler originally envisioned the character. It is truly a brilliant, understated performance and better than Altman and Gould's previous collaboration Mash. The film has many quirky touches from Altman with a terrific supporting cast of players including Sterling Hayden, Henry Gibson, Nina Van Pallandt, Jim Bouton and director Mark Rydell. The stunning photography by Vilmos Zsigmond once again gives yet another Altman film a unique aesthetic look. It is severly diminish when cropped up in pan & scan as other reviewers have mentioned. The film begs for a proper transfer to widescreen. Let's pray MGM/ UA comes to their senses and stop releasing James Bond box sets while these masterworks continue to be neglected.
Rating:
Summary: very funny take on detective movies
Review: I was rather surprised at the other reviews I read here. The point of this movie is to take a "retro" detective like Philip Marlowe and put him, as a fish out of water, in (what was at the time contemporary) LA of the 70's. I wasn't entirely happy with Gould's performance (I think that time has shown that he was much less of an actor than he appeared to be in M.A.S.H., for example), but he's adequate. The supporting cast is very good, although I did get a little tired of Sterling Hayden. Anyway, the movie is an affectionate spoof of movies like "The Big Sleep", and while it's not a great film, if you like the genre and you like Altman, you'll like this one. The ending is very funny, at least if you've been getting the joke as you go along.
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