John Chard
If I should die before I live!
Lady in the Lake is directed by Robert Montgomery and adapted to the screen by Steve Fisher from the novel The Lady in the Lake written by Raymond Chandler. It stars Montgomery, Audrey Totter, Lloyd Nolan, Tom Tully, Leon Ames and Jayne Meadows. Music is by David Snell and cinematography by Paul Vogel.
It's the Christmas Holidays and private detective and part time writer Phillip Marlowe (Montgomery) strolls into Kingsby Publications to submit his latest novel. Although he didn't know it at the time, his reason for being there is for different matters, and soon he is involved in missing persons and dead bodies...
Famous for being the film that used a first person gimmick (the camera is Marlowe for most of the picture), Lady in the Lake has a very divisive reputation for a number of reasons. Be it the gimmick or the portrayal of Marlowe (a much loved character to Chandler and film noir fans) by Montgomery, you will find for every person who likes the film greatly, the next person hates it. So with that you have to roll the dice and take your chance.
I have an allergy against getting mixed up with tricky females who want to knock off the boss' wife and marry him for themselves.
If able to leave aside Chandler's novel (and the writer's agitation about the film in general) , and to not let the camera as the active protagonist trick take you out of the story, then there's a good picture here. As is the Chandler way, there's a pot boiler at work as Marlowe tries to solve the cases at hand. He gets punched and slapped about, drops sarcasm quips a plenty, flirts roughly with Adrienne Fromsett (Totter) and jousts with the police as a course of nature. The mystery element is delightfully strong, suspicious behaviours and dubious motives are prominent, all of which reach a satisfying conclusion at pics end.
When it comes to women, does anybody really want the facts?
Montgomery's take on Marlowe isn't for everyone, and coming as it did just a year after Bogart had laid down a considerable marker in The Big Sleep, he was up against it. He actually does well in my book, stentorian like in delivery, wonderfully brusque of manner, and a filthy laugh to boot! His interactions with the yummy Totter and battle of wills with the cops are what make the picture worthwhile.
Perhaps you'd better go home and play with your fingerprint collection.
Unfortunately, with the gimmick in such loaded prominence, it does get a bit weary come the mid-point. The film also lacks some biting noir visuals, the story and its plotting screams out for dark shadow play and chilly chiaroscuro, but no joy in that department here. So some various irks for sure. It starts off with Christmas carols for the opening credits, and finishes on an u-noirish note, but everything in between - gimmick be damned - makes this an intriguing and entertaining Marlowe noir piece. 7/10
