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cynical a story as you could want... but the arguments over the greatness of this noir rests on the leading man, Dick Powell.
Powell's career was nose-diving: he was a song-and-dance guy and this was his lifeline. It turned out he held on and went on to a new career as a dramatic leading man.
He doesn't "do" a very good Philip Marlowe, in my opinion. He's too civilized, too... nice.
Bogart was no-nonsense. He projected anger, distrust... toughness. I believed Bogart could casually shoot a guy down, after kicking in his teeth. Powell? Nah. He's the guy in the nice suit, downing martini after martini as he traded witticisms with his satin-gowned wife and petted his cute dog, "Asta."
He's not terrible, mind you, he does what he could. He's just the wrong guy.
Still, it's a terrific film. He just isn't... menacing.
Follow Ups:
No, Powell is great. He is no Bogart, he is an everyman in a world of double-crossing and betrayal...no he is not a tough guy, but he is tough in an ordinary way. A lot better than his former song-and-dance persona would lead you to believe.
Powell? I'm confused.
of Dana Andrews.
None of these three guys projected menace: I just can't see them as hard-boiled gumshoes.
They were in some fine films, yes, and their performances were good it's just I think they were miscast.
Bogart and Mitchum (and several others) truly look and act tough, you don't have to suspend belief.
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