For The Long Goodbye, Robert Altman successfully transports Philip Marlowe, incarnated by Elliott Gould, to the over-privileged, full-color 70s. Marlowe is lonely and shabby, yet does not seem an anachronism in the contemporary world. Unlike Bogart's Marlowe, this is a not especially tough Marlowe. He's a bright, conscientiously solemn nut, a guy who hopes for the best but expects the worst. This particular Philip Marlowe, despite evidence to the contrary, persists in believing that not all relationships need be opportunistic or squalid.