MARLOWE – LOUISE RANSIL (LAUNCH PAD)

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Title: MARLOWE
Logline: Based on a true story. African-American P.I. Sam Marlowe shows novice writer, Raymond Chandler the realities of detective work, juggling gangsters, corrupt politicians and movie star Jean Harlow to find out who is burning farms on the Arroyo Seco Canyon.
Pitched as: L.A. CONFIDENTIAL meets CHINATOWN.
Writer: Louise Ransil
Genre: Drama | Thriller | Noir
Representation: Currently unrepresented
Availability: Project is available
Details: Top 10 – 2013 Launch Pad Competition
Updates: Coming Soon
Requests: [email protected]
The Contest: TO FIND OUT MORE ABOUT THE LAUNCH PAD COMPETITION CLICK HERE
KEEP UP WITH ALL LAUNCH PAD NEWS HERE.
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2 Comments

  1. The Marlowe script too cartoonish on

    I read the “Marlowe” script, besides the noirish tone of the Marlowe’s V0’s, which immediately seemed implausible to me since he wasn’t not fictional and so would have the normal syntax of a man who happens to be black, who happens to make his living doing P.I. work; I was struck by the further Hollywooding of the scripts impression by Ransil’s selective determination of which black characters were to be “light-skinned” and which were to be “dark”. Contemporary black actors, the major ones that could carry the lead in films (D Washington, Idris Alba, S Jackson, to name a trio of good choices) would have to grimace on coming to these descriptions of black characters, knowing that Ransil is “lightening” impression of necessary black characters for producers who naturally want the acting ensemble to be acceptable to a white audience. As a person of color myself, I grimaced at her hint to producers “No, you won’t have too many of those unacttractive, “dark”, characters because, as you can see, you can put in the usual suspects “light-skinned actresses” for their added value of beauty and sexiness. How about that Lulu-whatever woman, “dark” and 300 pounds. Nah, the script is shallow. She takes a real person and turns him into character that wouldn’t act so “Marlowish” or “Spadish”. The role for an actor wouldn’t be meaty enough; it’s too cartoonish.
    Does Rancil really need to make this script noirish? No. Just a straight forward story would have been fine. I think she would have better chances of selling the script if it didn’t try to jam itself into a noir category.

  2. You may be missing two points. 1) This is a true story. These were real characters. 2) Velma was Lulu’s daughter with the land owner for whom she worked. He was Swedish and blonde. Primary plot point was the injustice of the fact she couldn’t inherit the family home from her father because of the Restrictive Covenant Laws of that time. Even when Velma’s lover bought the property for her, she wasn’t allowed to keep it.

    And I didn’t make the story noirish. I went thru Marlowe’s files and talked to people he knew. I just wrote what happened in the way his friends remember him.

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