gturb

The Long Goodbye

Did I understand all the subtext and messaging, of course not. Maybe another watch some other time will give me that and I’ll like this movie even more. But even without that I’d spend as long as humanly possible watching this catty detective going around the city and shooting the shit with people.

breakfastcowl

The Long Goodbye

I mean you had me the moment the cat launched onto Marlowe's belly in the opening shot. Dreamweaver loser noir on a steady note, counting waves and counting smokes down to your last. Altman, man.

ichbins_a

The Long Goodbye

I like cats

midvngxnce

The Long Goodbye

OMG HES LITERALLY ME. this is the most quotable movie ever. great line reads from elliot. watching this movie at night enhances the experience. Elliot in this is pretty much a Bogart "impression". I love the cat!!

Lex

The Long Goodbye

After all the bullshit, he's still lookin' for his cat. A man.

olasyg

The Long Goodbye

Not. enough. cat. 😾

Ake

The Long Goodbye

I don't get it

BelugaJames

The Long Goodbye

Incredible performance by Gould who manages to both be cool as hell and an enormous loser at the same time. Engrossing world building, and an amazing score help propel the film forward. Definitely adding to the rotation. How did I not watch this sooner?

7sn

The Long Goodbye

أول عمل أتابعه للمخرج روبرت ألتمان و كانت تجربة غير مرضيه نوعاً ما،أتوقع كنت رافع سقف التوقعات حبتين

nathansnook

The Long Goodbye

“𝘞𝘩𝘢𝘵 𝘵𝘩𝘦 𝘩𝘦𝘭𝘭? 𝘕𝘰𝘣𝘰𝘥𝘺 𝘤𝘢𝘳𝘦𝘴.” “𝘠𝘦𝘢𝘩. 𝘕𝘰𝘣𝘰𝘥𝘺 𝘤𝘢𝘳𝘦𝘴, 𝘣𝘶𝘵 𝘮𝘦.” “𝘛𝘩𝘢𝘵’𝘴 𝘺𝘰𝘶, 𝘔𝘢𝘳𝘭𝘰𝘸𝘦. 𝘠𝘰𝘶’𝘭𝘭 𝘯𝘦𝘷𝘦𝘳 𝘭𝘦𝘢𝘳𝘯. 𝘠𝘰𝘶’𝘳𝘦 𝘢 𝘣𝘰𝘳𝘯 𝘭𝘰𝘴𝘦𝘳.” There’s an incredible overlay where a drunk husband is speaking en privé with the abused wife where our detective lulls by the waves -- a scene that perfectly depicts our lead, always in the liminal, there or not there, wafting in between secret and fact. I always love an Altman film for how he knows how to move the camera, wafting in and out less like a fly on the wall, but the air itself. You can feel the haze of the Malibu sun come off, even at night, and it’s the ecstatic heat and glow of LA that brims here. You can call it an LA picture for the very sensual ways the city is captured by mere weathered atmosphere. The camera, airy and weightless, pulls in, then out, swerves and pans left and right, so that the film can work in any direction. And I guess that’s how LA moves in a way. Go any which way, and you’re Pacific forward, west of the sun south of the border. As always, Altman has such great control of person and place with a buoyant Elliot Gould that carries the role with so much ease, even through the thickest of plots. A lot to love, with a cheeky end with one of my favorite songs that punctuates the film with such irony, a little self-aware, but all works because it’s Altman. *also is no one going to mention the Arnold Schwarzenegger cameo??? in a thong with denims down to his knees?!