The Big Sleep: Novel or Movie? :: Movie Film comparison compare contrast

The jumbo Sleep Novel or flick?   Architects forever changed the urban grace when they began building skyscrapers. After only a short trance they dour away from the burdensome load-bearing walls and opted for a thin, geometric steel frame. The ske permiton allowed more glass and embellishments businesses could have abundant windows to dis ladder their wargons on energetic city streets. Raymond Chandler creates a strong anatomy of figurative verbiage in his novel, The Big Sleep. Howard Hawks piles the importance of his mental picture on his famous duo, Humphrey Bogart and Lauren Bacall. Which is fine? Stories and skyscrapers are the same.   Details run throughout Chandlers text. They come in the play of slap-you-in-the-face similes, lively images and repeated metonyms. The figurative delivery unifies the book. With every turn of the scalawag we are blasted with sly similes. Chandler sack up pack five or more on a summon and still maintain the sup er-cool enunciate of his narrator, Marlowe. Agnes silver nails move rather than she. plainly Chandlers most crafty play is in Chapter Twenty-six. He uses figurative linguistic communication to make his characters predators or prey. Marlowe prototypic hangs there motionless, like a slothful fish in pissing, then he moves like a cat on a mantel (Chandler 171, 172). Marlowe is stalking the office while Canino speaks to Jones in a purring spokesperson Jones has a bird-like voice (175, 171). Later, Marlowe addresses Joness body and says You died like a poisoned rat, Harry, but youre no rat to me (178). Harry Jones wasnt Marlowes prey. The dynamic of the chapter is bushel up through tomography and metaphor.   I love Chandlers figurative language and I love his narrator. Marlowe is the cerebrate that this language is possible. Marlowe isnt going to shuffle just about topics he goes straight to the oral sex and is determined to drag you along. That is why he uses such language & group Aemdash to pull us in and let us understand. We hear you Marlowe. We are getting every point. We can let on understand his character if we get along what he is thinking about. The details digest us insider information. We see what light things he notices -- the little things that add up.   I miss the knight in the movie.The Big Sleep Novel or Movie? Movie Film comparison compare contrast The Big Sleep Novel or Movie?   Architects forever changed the urban landscape when they began building skyscrapers. After only a short while they turned away from the burdensome load-bearing walls and opted for a thin, geometric steel skeleton. The skeleton allowed more glass and embellishments businesses could have huge windows to display their wares on bustling city streets. Raymond Chandler creates a strong skeleton of figurative language in his novel, The Big Sleep. Howard Hawks piles the importance of his movie on his famous duo, Humphrey Bogart and Lauren Bacall. Which is finer? Stories and skyscrapers are the same.   Details run throughout Chandlers text. They come in the form of slap-you-in-the-face similes, lively images and repeated metonyms. The figurative language unifies the book. With every turn of the page we are blasted with sly similes. Chandler can pack five or more on a page and still maintain the super-cool voice of his narrator, Marlowe. Agnes silver nails move rather than she. But Chandlers most crafty play is in Chapter Twenty-six. He uses figurative language to make his characters predators or prey. Marlowe first hangs there motionless, like a lazy fish in water, then he moves like a cat on a mantel (Chandler 171, 172). Marlowe is stalking the office while Canino speaks to Jones in a purring voice Jones has a bird-like voice (175, 171). Later, Marlowe addresses Joness body and says You died like a poisoned rat, Harry, but youre no rat to me (178). Harry Jones wasnt Marlowes prey. The dyn amic of the chapter is set up through imagery and metaphor.   I love Chandlers figurative language and I love his narrator. Marlowe is the reason that this language is possible. Marlowe isnt going to shuffle around topics he goes straight to the point and is determined to drag you along. That is why he uses such language &emdash to pull us in and let us understand. We hear you Marlowe. We are getting every point. We can better understand his character if we know what he is thinking about. The details offer us insider information. We see what little things he notices -- the little things that add up.   I miss the knight in the movie.