No cinematic Chandler adaptation had successfully channeled the same psychic forces that propel his Marlowe novels (in my estimation, the Mitchum-starring Farewell My Lovely comes closest, even if it gives us Chandler by way of Nathanael West). The Hawks adaptation of The Big Sleep keeps the narrative outlines, but it’s a Hollywood glamour vehicle (even if it has a seedy side).
Bogart excelled at conveying self-destructive psychology, so it’s a shame that Marlowe’s essential cynical loserdom isn’t in evidence. Here, he’s in charismatic heartthrob mode, a kind of James Bond P.I. Still, you could do worse; Bogart is a joy to watch, especially when he shares the screen with Bacall.
Bacall comes from some other planet, a young dynamo that’s all desire and contempt and fortitude. If Gene Tierney was the ultimate self-destructive femme fatale, a woman who would inevitably combust in spectacular fashion, Bacall’s film noir women would survive everyone (including the men they loved).