The Long Goodbye (1973)
Robert Altman has always been a directer I either loathe or love it varies based upon the work. The Long Goodbye is my favorite of his work and the film that fits his style the best. See the thing about Altman is he believes in a natural approach to filmmaking, characters trip over their words, we don't get direct answers, people talk over each other. If you are doing a drama or a comedy it pretty much just sucks the life out of you...but when you have a point and good story it's magic.
The film starts with a pair of friends, broke loser of a PI in Phillip Marlow (Elliott Gould) and his friend a gambler Terry Lennox. Lennox needs a ride across the border so he asks his friend Phillip for the help. Marlowe is then arrested when it's revealed that Lennox's wife was murdered. Three days later Marlowe is released when the police announce that Terry is dead in Mexico. What follows is a set of densely packed scenes that are confusing and haunting.
Altman manages to not waste a scene and does an expert job with casting. The biggest star in the film is a cameo from future governor Arnold Schwarzenegger. Sterling Hayden who came off his pivotal role in the Godfather shines in this as a manic writer Roger Wade. It's a surprise to me he never received a supporting actor Oscar nomination during his career as it's littered with a such variety of legendary supporting performances.
Mark Rydell who is better known as director (on Golden Pond) and Henry Gibson (Wilbur from Charlotte's Web) play a pair of heavies in the story. They are both slight and tiny men that manage to bring fear into the scenes they are in. Nina van Pallandt plays the female lead and naturally she's best known for...a lot.
https://en.wikipedia.org/wiki/Nina_van_Pallandt
Altman deserves a lot of credit for casting non-stars it improves the mystery because typically the killer is the bigger star in the group, but when everyone is on the same level you don't get the tip off.
My favorite part of the film though is the work of the cinematographer Vilmos Zsigmond. When I was watching this I kept thinking how it reminded me of Close Encounters of the Third Kind. How the houses all felt lived in, the stories could be told in the back of the shot, or the foreground. Your eyes are always moving around and you are constantly stimulated. Unlike most noirs this isn't a story in the shadows but rather in the light, with glares and sunny beaches and LA parties with leftover hippies. Zsigmond helps create a world you want to live in...and you really want to know whats going on with those topless hippies across the complex.