The rights to Chandler's Farewell, My Lovely were bought by RKO Radio Pictures for $2,000,[2] and the novel provided the essentials of the plot for The Falcon Takes Over, released in 1942. Another of Chandler's novels had been purchased as well, but in 1944 no studio had yet used Chandler's antihero private detective Philip Marlowe as the protagonist of a film. RKO's studio boss, Charles Koerner, recognized the value of the character and of Chandler's style, and decided to use the rights RKO already owned to make a true adaptation of the novel.[6] He was able to convince RKO's management to make a new version of the book so soon after the previous one by pointing out that the book did not need a great deal of adapting to create a screenplay.[2]
For Murder, My Sweet Koerner assembled a creative staff who were ready to make the move up from B-movies, specifically producer Adrian Scott and director Edward Dmytryk; for Scott, the film was his first as producer. Koerner also revitalized the career of Claire Trevor – who was making Westerns in which she had fourth or fifth billing – and intended the film to be a showcase for the actress, who played a femme fatale.[6][1] At one point, the studio had considered Ann Dvorak for one of the female leads.[1]
Both Shirley and Trevor tried to convince the studio that they should both play "against type", with perennial good girl Shirley cast as the femme fatale Helen, and Trevor cast as the nice girl, Ann, but their pressure did not convince the studio.[2]
Koerner was also responsible for Dick Powell's transformation from a crooner to playing hard-boiled characters. Powell had been known in the 1930s and early 1940s for light comedies and musicals, but for ten years he had been trying to break away from that typecasting, which he felt he was too old for; he had wanted to play Fred MacMurray's part in Double Indemnity. Koerner wanted Powell under contract to RKO to do musicals, but Powell would only sign if he was allowed to do other kinds of roles,[5] so he offered Powell the opportunity he wanted. However, producer Scott and director Dmytryk were strongly opposed to casting Powell (as was Chandler) – Dmytryk later wrote "The idea of the man who had sung 'Tiptoe Through the Tulips' playing a tough private eye was beyond our imaginations."[5] – Powell had to make a screen test, as a result of which Koerner offered the actor a multi-picture contract with the studio.[6][1] After the success of the film, and considering the quality of Powell's performance, Koerner dropped the idea of casting Powell in musicals, and cast him instead as other tough guy characters and in action films.[2]
Powell's performance as Philip Marlowe is much debated by fans of Chandler and film noir; some think it too light and comic; while others consider it the best interpretation of Marlowe on film.[7] Chandler himself – who at first had objected to casting Powell – said he was very fond of it, but after seeing Marlowe played by Humphrey Bogart in The Big Sleep, changed his allegiance to Bogart.[8]
Another actor who had to audition to get the role he played was former pro-wrestler-turned-actor Mike Mazurki. Dmytryk wanted a true actor to play the part, but was convinced by Mazurki in a studio commissary discussion to give him a chance; Powell assisted him in his efforts.[8]
The film's screenwriter, John Paxton – a former reporter and publicist whose only previous full-length feature was My Pal Wolf, a girl-and-her-dog film – closely followed Chandler's novel, as well as Chandler's advice: "When your plot hits a snag, have somebody come through the door with a gun."[6] Some aspects of Chandler's plot had to be underplayed because of the Production Code, such as Marriott's homosexuality, or the fact that Amthor and Sonderborg were providing drugs to the elites of Los Angeles. Other parts of the novel, such as a plot thread involving a fleet of gambling boats off the L.A. coast, were dropped completely, but not because of the Code: in real life mobster Anthony Cornero ran such a fleet outside the three-mile limit, and hosted many of Hollywood's movers and shakers, and there was concern about drawing unwanted attention to him. Finally, Florian's, the club Moose first brings Marlowe to in his search for Velma, was originally a club with an exclusively African-American clientele located on Central Avenue in the heart of L.A.'s black district.[8][2] Making the change meant that the scenes in the club, and with Jessie Florian, would not have to be cut when the film was distributed in Southern states.[2]
Another change made in the adaptation from the book to the film was in the character of Ann Grayle. She was originally the daughter of an honest cop, but changing her to the step-daughter of Trevor's seductress helped to show the differences between the two types of women.[2]
It was producer Scott's idea to shoot the film as an extended flashback, which kept the book's first-person narrative style.[2]
Production on Murder, My Sweet took place from May 8 to July 1, 1944.[1] Shooting on the first day was so hectic that Claire Trevor was being sewn into her dress while the first scene was being set up. A makeup person was left off of the call, so Trevor did her makeup herself. During breaks between scenes, Dick Powell would entertain the other actors with imitations of himself as a singer earlier in his film career.[2]
Night location shooting took place in the Hollywood Hills.[1]
