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The viewer's full identification with Bogart's Marlowe is supported by the film's clever sound design: Note the disappearing extra-diegetic soundtrack (which otherwise would disturb Marlowe's eavesdropping) and the gradual change in volume that follows Marlowe's (and the viewer's) proximity to the conversation between Harry Jones and Lash Canino.

The viewer's full identification with Bogart's Marlowe is supported by the film's clever sound design: Note the disappearing extra-diegetic soundtrack (which otherwise would disturb Marlowe's eavesdropping) and the gradual change in volume that follows Marlowe's (and the viewer's) proximity to the conversation between Harry Jones and Lash Canino.

The viewer's full identification with Bogart's Marlowe is supported by the film's clever sound design: Note the disappearing extra-diegetic soundtrack (which otherwise would disturb Marlowe's eavesdropping) and the gradual change in volume that follows Marlowe's (and the viewer's) proximity to the conversation between Harry Jones and Lash Canino.

The viewer's full identification with Bogart's Marlowe is supported by the film's clever sound design: Note the disappearing extra-diegetic soundtrack (which otherwise would disturb Marlowe's eavesdropping) and the gradual change in volume that follows Marlowe's (and the viewer's) proximity to the conversation between Harry Jones and Lash Canino.