To me, the ending of The Big Sleep is a great example of
this. Bogart's Marlowe is so much more in control than
Chandler's. In the movie we don't see his hysterical laughing
jag after killing the gunman (Canino?) and we don't have the
strange romantic interaction with Eddie Mars' wife (Silver
Wig) in the final stretch of the novel, which is replaced by
a standard Hawks male-female relationship btw Marlowe and
Vivian.
--- In
rara-avis-l@yahoogroups.com, Jay Gertzman
<jgertzma@e...> wrote:
>
> I saw the two films made of Thompson's THE GETAWAY
recently and could
> not help noticing that neither would touch the
wonderful ending of the
> novel, when Doc and Carol , after getting out of the
Manure pile, got
> transported to the Mexican stronghold from which no
one could escape,
> except by the natural process of , shall we say to
avoid a *spoiler,*
> making the eventual process "through the guts of a
beggar." It reminded
> me of the refusal of Hollywood to film Cain's ending
to DOUBLE
> INDEMNITY, which also shows the ultimate consequence
of predatory
> behavior (Phyllis the bride of death, etc). The end
of Bogart/Bacall's
> THE BIG SLEEP is similar, where organized crime boss
(i.e., CEO) Eddie
> Mars is killed, instead of, as Chandler would much
more honestly have
> it, being humbly bargained with by Marlowe ("I'll
talk with Eddie").
> Does anyone have other examples of Hollywood
"squeamishness" (which is
> probably not the right word).
>
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