A (Black) Gat in the Hand: Philip Marlowe – Private Eye (Boothe)
“You’re the second guy I’ve met within hours who seems to think a gat in the hand means a world by the tail.” – Phillip Marlowe in Raymond Chandler’s The Big Sleep
(Gat — Prohibition Era term for a gun. Shortened version of Gatling Gun)
In April of 1983, HBO aired the first episode of Philip Marlowe, Private Eye. Powers Boothe played Raymond Chandler’s world weary detective. I am a big fan of the movies which Dick Powell (Murder, My Sweet) and Humphrey Bogart (The Big Sleep) made from Chandler’s novels. But neither man played the character very true to the books.
Picking Iron (trivia) – Powell was a successful song and dance man when he was quite unexpectedly cast in Murder My Sweet. He nailed the part and it was the first of four hardboiled movies out of his next five: all good flicks. It allowed him to recreate his Hollywood career. It also made him perfect for the light-hearted, singing radio detective, Richard Diamond.
Season one covered five stories: “The Pencil,” “The King in Yellow,” “Finger Man,” “Nevada Gas,” and “Smart Aleck Kill.” Season Two returned in 1986 with six more episodes: “Blackmailers Don’t Shoot,” “Spanish Blood,” “Pickup on Noon Street,” “Guns at Cyrano’s,” “Trouble is My Business,” and “Red Wind.”
Philip Marlowe made his first appearance in The Big Sleep, which was a novel cobbled together from several existing short stories. Marlowe was really a composite of previous detectives, such as John Dalmas and Carmody. It’s those stories, written mostly for Black Mask and Dime Detective, that were adapted for this series.
Picking Iron- Philip Carey starred in a 1959-1960 series for television. From the Goodson-Todman folks (of game-show fame), it didn’t have much resemblance to Chandler’s stories. And giving Marlowe a scar was just goofy. Except for Lieutenant Harris being in five of the twenty-six episodes, it was a new cast every episode. I’ve only watched a few episodes; it’s not very good.
Set entirely in the thirties, this series stood out for its noir look and feel including a jazzy soundtrack. Chandler looks like Marlowe should look, in suit, tie, trench coat, and fedora. The dialogue is very Chandler, without Powell and Bogart’s over-the-top tough guy talk. This series had an authentic noir feel. HBO did it right.
I rewatched “Spanish Blood” in writing this essay. Helen Shaver plays a grieving widow; I think she would have been very good as a femme fatale. Cranky police commissioner Mavor Moore played Nero Wolfe in a Canadian radio adaptation of Rex Stout’s gargantuan detective. Maury Chaykin, who played Wolfe himself in A&E’s excellent TV series, played a shady cop in “Red Wind.”
David Wickes was the man who made the show happen, and it was, surprisingly, a British production, though there was extensive filming in Los Angeles. The whole shebang was moved to Toronto for the second season, dropping Marlowe’s girlfriend, and his police contact. And necessitating an entirely new crew.
While the series does look great, it’s Booth’s performance as Marlowe that makes the series. He’s a far cry from an invincible superman. John D. MacDonald described his Travis McGee as a worn-out knight, riding his tired steed, with a broken lance, still ready to fight the good fight. That description fits Marlowe. He is incorruptible, and he presses on even though he’s usually outgunned, and he’s consistently taking on an organization of some kind, while he’s a lone operative. In season one, he’s on good terms with lieutenant Violets McGee, who throws him work sometimes. But Marlowe is a one-man crusade. McGee didn’t make the move from England to Canada.
There are some good fight scenes, and Marlowe packs a serious punch. The shoot outs are also fun to watch. The action is well-done, and again, Boothe comes across as tough, but not unbeatable. He has a propensity for having his gun taken away, or holding the wrong one. Keeps things interesting.
Picking Iron – Van Heflin starred in The New Adventures of Philip Marlowe radio show in 1947. It changed networks, dropped ‘New’ from the title and Gerald Mohr replaced Heflin. It ran from 1948 through 1951 and was quite popular. It was more hardboiled than many of its competitors, including the lighthearted The Adventures of Sam Spade. I think it’s pretty good.
I don’t like Eliot Gould’s The Long Goodbye, but I do like James Garner’s Marlowe. So, Marlowe doesn’t have to be set in the classic era: but I prefer him there. And thirties southern California works terrifically in this series. The cars, the apartments, the styles; this is a visual treat for the hardboiled fan. I really like Marlowe’s well-worn coupe.
The dialogue is true to Chandler. The ever-gallant detective is off to save a girl who was kidnapped while he was in the room. As he ran through the door, a fist flew in from the side and knocked him out. He encounters the same guy again during the rescue, slugs him down, and then says, “Nobody gets two chances in the same day.” Hearing Marlowe say “Trouble is my business” in the episode of the same name, sounds right. Though he let himself get punched out without hitting his head on the table on the way down in that one.
Tombstone is my favorite western, and normally, when I see Boothe, I think of him as Curly Bill. But when he’s Marlowe, he’s only Marlowe. I’ve been fortunate to see, during my lifetime, Jeremy Brett play Sherlock Holmes; David Suchet play Hercule Poirot; and Maury Chaykin play Nero Wolfe. They are the definitive impersonations of those great detectives, for me. Dick Powell is my favorite Marlowe; I just really enjoy watching his version of Murder My Sweet. But I think that Powers Boothe is the best Philip Marlowe I’ve ever seen.
You’ve got great casting in the lead, reasonable fidelity to the source material, the right choice for a time-era, a good soundtrack, and quality production values. This was HBO’s very first original series (yeah – there was a time when that kind of thing was a novelty!), and they put forth a first class effort.
The series is out on DVD, and it streams on Prime. You can also find most episodes on the internet if you dig around (beyond just Youtube). I would quite liked to have seen another five or six episodes (especially “Mandarin’s Jade”). Boothe could have worked in another season during 1988 or 1989, but it wasn’t in the cards. I highly recommend watching at least a couple episodes.
Prior posts in A (Black) Gat in the Hand – 2020 Series (5)
A (Black) Gat in the Hand: Hardboiled May on TCM
A (Black) Gat in the Hand: Some Hardboiled streaming options
A (Black) Gat in the Hand: Johnny O’Clock (Dick Powell)
A (Black) Gat in the Hand: A Hardboiled June on TCM
A (Black) Gat in the Hand: Bullets or Ballots (Humphrey Bogart)
A (Black) Gat in the Hand – 2019 Series (15)
Back Deck Pulp Returns
A (Black) Gat in the Hand Returns
A (Black) Gat in the Hand: Will Murray on Doc Savage
A (Black) Gat in the Hand: Hugh B. Cave’s Peter Kane
A (Black) Gat in the Hand: Paul Bishop on Lance Spearman
A (Black) Gat in the Hand: A Man Called Spade
A (Black) Gat in the Hand: Hard Boiled Holmes
A (Black) Gat in the Hand: Duane Spurlock on T.T. Flynn
A (Black) Gat in the Hand: Andrew Salmon on Montreal Noir
A (Black) Gat in the Hand: Frank Schildiner on The Bad Guys of Pulp
A (Black) Gat in the Hand: Steve Scott on John D. MacDonald’s ‘Park Falkner’
A (Black) Gat in the Hand: William Patrick Murray on The Spider
A (Black) Gat in the Hand: John D. MacDonald & Mickey Spillane
A (Black Gat in the Hand: Norbert Davis goes West(ern)
A (Black) Gat in the Hand: Bill Crider on The Brass Cupcake
A (Black) Gat in the Hand – 2018 Series (31)
With a (Black) Gat: George Harmon Coxe
With a (Black) Gat: Raoul Whitfield
With a (Black) Gat: Some Hard Boiled Anthologies
With a (Black) Gat: Frederick Nebel’s Donahue
A (Black) Gat in the Hand: Thomas Walsh
A (Black) Gat in the Hand: Black Mask – January, 1935
A (Black) Gat in the hand: Norbert Davis’ Ben Shaley
A (Black) Gat in the Hand: D.L. Champion’s Rex Sackler
A (Black) Gat in the Hand: Dime Detective – August, 1939
A (Black) Gat in the Hand: Back Deck Pulp #1
A (Black) Gat in the Hand: W.T. Ballard’s Bill Lennox
A (Black) Gat in the Hand: Day Keene
A (Black) Gat in the Hand: Black Mask – October, 1933
A (Black) Gat in the Hand: Back Deck Pulp #2
A (Black) Gat in the Hand: Black Mask – Spring, 2017
A (Black) Gat in the Hand: Frank Schildiner’s ‘Max Allen Collins & The Hard Boiled Hero’
A (Black) Gat in the Hand: William Campbell Gault
A (Black) Gat in the Hand: More Cool & Lam From Hard Case Crime
A (Black) Gat in the Hand: MORE Cool & Lam!!!!
A (Black) Gat in the Hand: Thomas Parker’s ‘They Shoot Horses, Don’t They?’
A (Black) Gat in the Hand: Joe Bonadonna’s ‘Hardboiled Film Noir’ (Part One)
A (Black) Gat in the Hand: Joe Bonadonna’s ‘Hardboiled Film Noir’ (Part Two)
A (Black) Gat in the Hand: William Patrick Maynard’s ‘The Yellow Peril’
A (Black) Gat in the Hand: Andrew P Salmon’s ‘Frederick C. Davis’
A (Black) Gat in the Hand: Rory Gallagher’s ‘Continental Op’
A (Black) Gat in the Hand: Back Deck Pulp #3
A (Black) Gat in the Hand: Back Deck Pulp #4
A (Black) Gat in the Hand: Back Deck Pulp #5
A (Black) Gat in the Hand: Joe ‘Cap’ Shaw on Writing
A (Black) Gat in Hand: Back Deck Pulp #6
A (Black) Gat in the Hand: The Black Mask Dinner
Bob Byrne’s ‘A (Black) Gat in the Hand’ was a regular Monday morning hardboiled pulp column from May through December, 2018 and again from August through December, 2019. It returned in June, 2020.
His ‘The Public Life of Sherlock Holmes’ column ran every Monday morning at Black Gate from March, 2014 through March, 2017 (still making an occasional return appearance!).
He organized ‘Hither Came Conan,’ as well as Black Gate’s award-nominated ‘Discovering Robert E. Howard’ series.
He is a member of the Praed Street Irregulars, founded www.SolarPons.com (the only website dedicated to the ‘Sherlock Holmes of Praed Street’) and blogs about Holmes and other mystery matters at Almost Holmes.
He has contributed stories to The MX Book of New Sherlock Holmes Stories – Parts III, IV, V, VI and XXI.
You can join Amazon Prime (video only – not free shipping) for $8.95 a month. I think this series is worth paying $9 for and watching in a month.
[…] Edward G. Robinson in Bullets or Ballots (one of my favorites), and today, Powers Boothe’s Philip Marlowe, Private Eye. That was HBO’s first original series back in the […]
(Looks around for Thomas Parker…)
Thanks for the invite, Bob! I think I watched one or two of these Powers Boothe shows when they were first broadcast, but I have almost no memory of them. I have Prime, so I’ll definitely give them a try again. Careful with Prime, though – HBO is starting to take back its stuff that was on on Prime for a while. They did it with Deadwood, which I finished watching a short time ago “free” on Prime, but now you have to pay for. (Speaking of Powers Boothe, he was brilliant on that show, but then everyone was brilliant on that show.)
A while back I got a DVD of the Dain Curse miniseries from 1978 with James Coburn as the Continental Op. I haven’t gotten around to watching it yet, but I remember it as being excellent. 40 year old memories can be defective, though…
I love James Garner as Jim Rockford (The Rockford Files is one of the top 3 mystery/detective shows ever, in my opinion) and I could easily imagine him as Marlowe, though I’ve never seen his movie. I hope it’s better than the Paul Newman’s Lew Archer misfires, Harper and The Drowning Pool.
I rewatched Nevada Gas again on Monday. Definitely like that series.
I tried to watch Deadwood. I had to quit after a couple episodes. I couldn’t handle the massive profanity. I’m not wired that way. I think I would have liked it without all the swearing.
I’m not as crazy abut that Dain Curse DVD. It’s okay, but it felt to me like James Coburn (who I like) was playing Dashiell Hammett, not the Continental Op.
BTW – I have a LONG audiobook of The Dain Curse, from audible.com. It’s pretty good.
I like the Marlowe movie with Garner. And he does play Marlowe like Jim Rockford, which some people don’t like. I’m okay with that.
Last night, I watched Robert Mitchum’s ‘Farewell My Lovely’ for only the second time. I wasn’t crazy about it the first time, though I did remember that I thought it was better than his ‘The Big Sleep.’
I did like it a bit better. His voice-over narration was good. But I still think he’s too old, and too stiff, for the part.
And they really monkeyed with the script.
It wasn’t terrible, but he’s still not one of my favorite Marlowes. I might try ‘The Big Sleep’ again, but not anytime soon.
I started watching George Montgomery’s ‘The Brasher Doubloon’ after, but fell asleep. I’m not a late-night watcher.
Montgomery looks too Nick Charles, and is too light-hearted in the romance scenes, but he isn’t too bad when he plays serious. I’ll finish that one up.
Listening to the Lux Radio Theater adaptation of ‘Murder My Sweet,’ with Dick Powell back as Marlowe. It’s good. Claire Trevor costarred.
Lux also had Robert Montgomery recreate his ‘Lady in the Lake.
I want to watch The Brasher Doubloon, but I’m not sure whether I’ll like it, especially as it’s based on my least favorite Chandler, The High Window, which seemed almost a parody when I read it years ago.
It’s better than Time to Kill. Which Fox made in 1942. Watched that yesterday. They took The High Window, changed Marlowe to Michael Shayne, and made it a light-hearted romp.
Starring Lloyd Nolan, it’s not very Chandler at all.
I rather like the LLoyd Nolan Shayne movies. They’re fun for what they are. I certainly like them better than the single Shayne novel I’ve read, which I thought was awful.
I think our disagreement about the best Marlowe stems from you and I valuing different things about the character. The wise cracking, fast talking, hard as nails, tough two fisted Marlowe is certainly better represented by Powell and Bogart, and those parts of the character are undeniably present in Chandler – they’re largely what make the novels such lively reading.
But for me the essential Marlowe is the melancholy, reflective, worn down man of countless lost battles who will nevertheless keep fighting until he loses the final fight, the introspective, isplated man who could say this (from The Long Goodbye):
“When I got home I mixed a stiff one and stood by the open window in the living room and sipped it and listened to the groundswell of traffic on Laurel Canyon Boulevard and looked at the glare of the big angry city hanging over the shoulder of the hills through which the boulevard had been cut. Far off the banshee wail of police or fire sirens rose and fell, never for very long completely silent. Twenty four hours a day somebody is running, somebody else is trying to catch him. Out there in the night of a thousand crimes, people were dying, being maimed, cut by flying glass, crushed against steering wheels or under heavy tires. People were being beaten, robbed, strangled, raped, and murdered. People were hungry, sick; bored, desperate with loneliness or remorse or fear, angry, cruel, feverish, shaken by sobs. A city no worse than others, a city rich and vigorous and full of pride, a city lost and beaten and full of emptiness. It all depends on where you sit and what your own private score is. I didn’t have one. I didn’t care. I finished the drink and went to bed.”
That’s a Marlowe I don’t find in Powell or Bogart, but I do see him in Mitchum.
Neither of us is right or wrong; it’s just a matter of preferred emphasis, of different tastes and sensibilities, and thank goodness for that!
It’s also worth pointing out those elements that I prize most aren’t constant in Chandler’s novels – they increased as the years passed and are most dominant in the latter books – The Little Sister, The Long Goodbye, and Playback, and are least evident in his first two novels, The Big Sleep and Farewell, My Lovely – which I would choose (paradoxically!) as his best.
I haven’t read Shayne, though I’ve certainly heard about him for a long time.
I see Powers Boothe as a mix of the two Marlowes you talk about. And it’s part of why I think he’s the best one.
I’ve resolved to read one more Shayne – anyone can have an off book, or a reader can be in an off mood. I’m definitely going to watch the Boothe Marlowe series. he certainly looks the part.
I don’t know how I missed this, but I love Marlow and I love Powers Boothe, so….
Absolutely 100% agree on the definitive nature of Powers Booth’s performance of Marlowe– never seen better. This show holds up extremely well to rewatching. I am very skeptical about the new Liam Neeson movie.
Also agree with Jeremy Brett as Sherlock and Maury Chakin as Wolfe. Great performances– though I think Chaykin’s is somewhat more idiosyncratic than the Wolfe of the novels.