Paper Summary:

In this paper, the writer examines the nature of plot, narrative, editing, and characterization in the film: 'The Big Sleep' (1946) by Howard Hawks. The writer discusses that by creating a plot that verges on the brink of chaos, Hawks directs Bogart and Bacall in their traditional film noir roles, which ultimately rely upon their acting and characterization as catalysts for the mystery and intrigue through murder. The writer further points out that by understanding the narrative of these two characters, the plot seems to take a secondary apparatus to the romance involved between these two actors.

From the Paper:

"This film study will present the aesthetics that pertain the film noir genre when deciphering the complex plot of The Big Sleep (1946) by director Howard Hawks. By understanding the aspects of editing (flashbacks), acting and the plot structure of the film in relation to Hawks' visuals, this film offers a classic representation of the `noir' genre. Also, this study will present the various aspects of dialogue, which provide the slapstick narratives and dry characterizations that define 'The Big Sleep' as a classic in depicting the criminal world of detective Philip Marlowe."

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