The Big Sleep Is Yet Another Excellent Humphery Bogart Noir Feature

I felt an immense sense of relief to learn, after watching The Big Sleep for the first time, that the plot is considered by many to be a tad hard to make out. I thought I had missed something while watching the film, maybe a crucial line that clarified the whole story, but it turns out that even some of those responsible for the feature would be the first to admit that certain plot points (like who was behind the murder of a driver) don't get resolved. But this is one of those times where something like a convoluted plot that might be a debilitating problem in another movie actually works in the favor of The Big Sleep as it helps make the larger conspiracy that detective Phillip Marlowe (Humphery Bogart) has found himself inadvertently caught up in feel wide-spanning and makes it seem like the odds are truly up against Marlowe.

Bringing Up Baby Is A Highly Entertaining Comedy, Screwball Or Otherwise

The screwball comedy was as prominent a fixture of movie screens in the 1930's as knock-off's of Porky's were in the 1980's or knock-off's of The Hangover were right after that Todd Phillips movie hit it big at the box office. "Imitation is the sincerest form of flattery" as they say and whenever a big comedy strikes gold at the box office, there's bound to be successive movies all too happy to flatter that successful project by way of mimicry. Is it any surprise then that we had a lot of screwball comedies competing for eyeballs during the 1930's given how many of them were turning out to be true blue moneymakers?

The 1932 Take On Scarface Still Remains One Of The Best Gangster Movies!

Howard Hughes is like a never-ending source of historical trivia. The guy's eccentric and reclusive private life is already the stuff of legend, and while I was well aware of him having a heavy hand in the film industry, I had no idea he was a staunch fighter against The Production Code (an entity meant to curb raunchy or unsavory behavior in American cinema) while he was the producer of the 1932 version of Scarface. Apparently, he told the directors in charge of this project (Howard Hawks and Richard Rosson) to forego any consideration for having their Scarface adhere to the guidelines of The Production Code and instead focus on making the most realistic and highest quality movie they could.