Lady in the Lake 1946 123movies

Watch: Lady in the Lake 1946 123movies, Full Movie Online – The camera shows Phillip Marlowe’s view from the first-person in this adaptation of Raymond Chandler’s book. The detective is hired to find a publisher’s wife, who is supposed to have run off to Mexico. But the case soon becomes much more complicated as people are murdered..
Plot: Private eye Phillip Marlowe wants to get out of the detective racket and into crime writing. But when he’s called to the office of editor Adrienne Fromsett, it’s not to talk about his story ideas — she wants him to locate the missing wife of her boss, Mr. Kingsby. The assignment quickly becomes complicated when bodies start turning up
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Ratings:

	6.5/10 Votes: 5,633
	60% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 72 Popularity: 6.91 | TMDB

Reviews:

Chandler supplies grapes – pinot noir? – for film experiment of doubtful vintage
For a suspense writer whose observations of mid-20th-century Los Angeles proved so gimlet-eyed that he has been enshrined as the city’s unofficial bard, Raymond Chandler had a bumpy fling with Hollywood. The first of his five major novels to be filmed during the classic period of film noir, Farewell, My Lovely was first turned into an installment in the Falcon series of programmers, then into Edward Dmytryk’s 1944 Murder, My Sweet (a success, but too short; to do justice to Chandler’s atmospherics and milieu demands longer time spans than the movies allot them).

From 1946, probably the most adroit blending of style and content taken from his works was Howard Hawks’ The Big Sleep. But its popularity, then and now, owes as much to the chemistry between Humphrey Bogart and Lauren Bacall – and to the frisky, irreverent tone Hawks brought to the movie – as to Chandler, whose outlook was one of dispassionate observation tinged with disgust.

The following year, The Brasher Doubloon, from the book The High Window, can be deemed a failure. That leaves the odd case of The Lady in the Lake, also from ‘47, which Robert Montgomery, starring as Philip Marlowe, ill-advisedly decided to direct himself. The movie labors under two huge handicaps: one of technique, the other of tone.

Cited often (and often by those who may not have actually seen the movie) for its subjective use of the-camera-as-character, The Lady in The Lake flounders on an idea that may have sounded good when initially floated but had to have looked bad once the first rushes came in.

Except for an explanatory prologue (the necessity for which should have raised red flags) or in scenes where he’s caught in a window or mirror, Montgomery’s Marlowe remains unseen. We, through the camera lens, are the detective. Conceivably, this gimmick might have worked at a later date, when swift, lithe Steadicams were part of Hollywood’s technical arsenal. But in1947, the camera lumbers along as though it were being shoved through wet sand. As a result the pace slows to deadening, as though a senescent Marlowe were tracking down clues from the rail of an aluminum walker.

In consequence, time that might profitably been expended on filling in missing pieces of the puzzle gets wasted on Marlowe’s getting from point A to point B. Vital and evocative parts of Chandler’s novel take place in the summer resort areas of Puma Point and Little Fawn Lake; that snail of a camera, however, was not up to a hike in the great outdoors, so the movie preserves none of them.

And in tossing away chunks of the novels to accommodate budgets and shooting schedules, movie versions (like this one) mistake Chandler’s strengths, which did not lay in plot. (The scriptwriters on The Big Sleep, including William Faulkner, couldn’t figure out who killed one of the characters, so they asked Chandler, who didn’t know either.)

His strengths were in weaving intricate webs of duplicity and deceit shot through with corruption and dread. That was heavy fare for Hollywood – even during the noir cycle. So stories tended to be simplified and atmosphere lightened: the freighted response gave way to the wisecrack, suggestive tension between two characters turned into a meet-cute, the brooding loner became a red-blooded American joe.

So, in The Lady in The Lake, the icy and questionable Adrienne Fromsett of the book (Audrey Totter) is now a sassy minx to Marlowe’s snappy man-about-town, and so on. The plot deals with Marlowe’s attempts to find a missing woman (an off-screen character whom the Christmas-card credits, in a droll fit of Francophone humor, call Ellay Mort).

Is a verdict possible? Some viewers find the movie’s conceits and distortions amateurish and self-congratulating, while others overlook them to find a vintage mystery from postwar vaults. The Lady in The Lake remains a flawed experiment that over the years has developed its own distinctive – if not quite distinguished – period bouquet.

daring experiment
Hard-boiled Los Angeles private eye Phillip Marlowe (Robert Montgomery) decides to submit a real story to pulpy Kingsby Publications Inc. He’s brought in to talk about his story with executive Adrienne Fromsett (Audrey Totter). Instead, she hires him to find her boss Derace Kingsby’s wife Chrystal without informing him. Chrystal had runaway to Mexico. She wants a divorce and marry Chris Lavery. Marlowe immediate suspects Fromsett of ulterior motives.

The premise of the first person POV is an intriguing and unique experiment which does not always work. There is something very disturbing about the actors staring right into the camera. It gets to be off-putting except for a few great touches in some of the scenes. Whether it’s lingering on a beautiful girl or getting sucker punched, there are incidents where this gimmick really works. The one thing that I hadn’t considered is that the scenes stop being edited. There is no back and forth during a conversation. It becomes a play directed at the audience. Again, it’s off-putting and becomes difficult to maintain my focus. Totter acts her big eyes to their maximum. There is a liberal use of mirrors to get Montgomery into frame. They’re really pushing the envelope but cinema may not function this way. Modern examples such as Hardcore Henry uses the concept to do action which works a little better by turning cinema into a video game. Others like 84 Charlie Mopic use found footage as the excuse to do 1st person which helps a little. The experimentation continues.

Other Information:

Original Language en
Runtime 1 hr 45 min (105 min)
Budget 0
Revenue 0
Status Released
Rated Passed
Genre Crime, Film-Noir, Mystery
Director Robert Montgomery
Writer Steve Fisher, Raymond Chandler
Actors Robert Montgomery, Audrey Totter, Lloyd Nolan
Country United States
Awards N/A
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono (Western Electric Sound System)
Aspect Ratio 1.37 : 1
Camera Bell & Howell Eyemo
Laboratory N/A
Film Length 2,813 m
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm