> on 7/2/03 3:39 PM, Mario Taboada at
> To follow up on Chris's post, in a text you can use
> Hemingway's "iceberg principle" (hide 7/8 of the stuff,
> since the reader will provide it himself, or imagine it).
> Hemingway also points out that the author *must know* the
> remaining 7/8...
I'm not sure, when
you say "Chris's post," whether you're referring
to me or to Chris Martin.
I'll use that confusion, in any case, as an excuse to remark on how
one of the themes of the 1973 "Long Goodbye" is the distance between
what's traditionally thought of as Philip Marlowe's era and 1973, a
distance which is illustrated by the use of both a 1938 Johnny Mercer
song ("Hooray for Hollywood," written with Richard Whiting) and a 1973
one (the gorgeous title tune, written with John Williams).
On the off-chance that the name "Johnny Mercer" is unfamiliar to you,
I'll say that he and composer Whiting are the same team who wrote the
song "Too Marvellous For Words" which is given conspicuous use in the
"Dark Passage" movie. There were several Mercer songs in the "Midnight
In The Garden of Good And Evil," and the "L.A. Confidential" movie
featured his "Ac-Cen-Tchu-Ate The Positive" and "Hit The Road To
Dreamland" (both co-written with composer Harold Arlen).
"Chandler did some screenwriting too, I know" writes Michael Robison.
Well, um, yes. He cowrote the screenplay for "Double Indemnity" --
which the guard in "Long Goodbye" quotes when he does his Barbara
Stanwyck impersonation -- and for "Strangers on a Train." Although
it's been asserted, as far as the latter picture is concerned, that the
greater part was actually written by Ben Hecht associate Czenzi
And, as long as people are making reference to the first "Big Sleep"
movie, let's not overlook writer Jules Furthman. He was the guy, after
all, who wrote the screenplay for "Nightmare Alley" ...
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