By Owen Glancy Asst. Arts & Features Editor The 1970s were an undeniably excellent decade for film, but for American cinema, this is one of the most important time periods in the medium’s history. The U.S. was going through one of the more tumultuous periods of its history. With the country knee deep in the Vietnam War and having just come off the heels of the Civil Rights Movement, there was certainly no shortage of things for filmmakers to touch upon in the ’70s. Add on top of all that, the Motion Picture Association of America (MPAA) coming into effect in 1968 and filmmaking technology becoming more accessible than ever, the sheer quantity and quality of American cinema drastically increased. Some of the medium’s most iconic voices emerged with Steven Spielberg, Martin Scorsese, George Lucas, Wes Craven, John Carpenter, and Francis Ford Coppola making their feature film directorial debuts this decade. This moment in cinematic history was dubbed the New Hollywood Movement, and its effects can still be felt to this day. However, not every director from this time period sees the same level of popularity as Spielberg or Scorsese, yet they still made incredible, impactful works. One of these directors is Robert Altman. Altman burst onto the scene with “M*A*S*H” in 1970, a massively successful film that received a TV show based on its characters. However, Altman wasn’t done - he would then go on to make “Brewster McCloud” in 1970, and then “McCabe & Mrs. Miller” in 1971. These films would become classics in their own right, but in 1973, Altman would create arguably his best and most well-known work. “The Long Goodbye” is unique among Altman’s early works, as it's the first time the comedy has truly taken a backseat to the storytelling. It’s also his first neo-noir film, a style that was once again gaining popularity in the ’70s thanks to films like “The French Connection” and “The Sting.” The film’s scenes all carry this moody atmosphere, with Altman finding ways to make even daytime shots look oozed in shadows. Homes and buildings are messy and rarely have windows open, the streets feel oddly empty despite the obvious presence of cars and people on their daily commutes, and it all feels very surreal at times. What grounds the film is its protagonist, Detective Philip Marlow. Marlow both echoes and improves upon the great noir detectives of the genre’s past. He’s rarely seen without a cigarette, and his wardrobe is full of suits and coats typical of his character’s archetype. However, he brings such a sarcastic energy to the role. He has a comeback or quip for seemingly everything thrown at him, and his apparent apathy to many of the precarious situations he finds himself in is both hilarious and refreshing. The camera also assists Marlow in helping ground the film in reality, with shots often framed either far away from the characters so that you can see exactly what’s around them, or framed through objects making certain scenes even more tense. Just like Marlow, however, the camera is never doing one thing for too long. There are many scenes that have the camera following random background elements, or focusing in on the minute details of a minor character. It’s certainly jarring at first, but it makes the camera seem as if it’s a character itself, almost putting the audience in the scenes. Despite how unique “The Long Goodbye” is in Altman’s filmography, it’s important to highlight that Altman’s signature naturalistic style is still present. In a manner that almost certainly inspired filmmakers like Quentin Tarantino, the dialogue in this film is incredibly natural and fluid. It’s easy to forget that these are actors reading off a script being specifically directed. These conversations just feel so realistic, an aspect of the film only enhanced by the strangely intrusive and active camera angles. “The Long Goodbye” may not be the most popular ’70s neo-noir, it may not be the most popular Robert Altman film, and it’s not even the most popular film from 1973, but it’s one that should not be overlooked. If you’re even a little interested in anything you just read about the film, I promise “The Long Goodbye” is going to become one of your favorites.