Just when detective dramas seem to have grown stale, stuck in that that episodic rut so many fall prey to, Japan manages to produce something fresh in a favorite genre. The Long Goodbye, based on the famous Raymond Chandler novel of the same name, might be just this aforementioned something. Part period piece, film noir, and clever adaptation, this miniseries may leave you more satisfied than its five hours might suggest. The Long Goodbye covers just one case in full, taking place in the early 1950’s. We swap the original location of Los Angeles in the United States for Japan in the same era. This injection of the downtrodden post-war atmosphere throws its shades on the theme and plot. What results is a wholly unique spin on a drama otherwise reminiscent of classic detective noirs popular so long ago in Hollywood. “Shiritsu tantai (private detective)” Masuzawa Banji replaces iconic Phillip Marlowe in this short and sweet adaptation; just like Marlowe did, Masuzawa encounters an unforgettable friend he feels he must protect—then eventually vindicate in the eyes of the public. Our mystery is one fraught with murder, twisted love, and poisonous wealth, filled to the brim with refreshing twists and turns, strewn with clues for the viewer to notice. Nothing is what it seems, and most things are more complicated than first glance. Something else of note is the excellent narrator, doubtlessly kept over from the source material: he has a wonderfully cheeky style, and often brings much-needed humor to The Long Goodbye when heard. Asano Tadanobu is a consummate actor, best known for his excellent work in film. Being able to see him on screen for any extended amount of time has been a rare pleasure. As Masuzawa, Asano-san brings an excellent physical performance to the table, using body language to tell what the character cannot. He is a silent type as these detectives tend to be, yet also displays a wonderfully amusing attitude from time to type. Whenever Masuzawa would become fed up with a situation, that scene was golden. Other honorable mentions go to Kato Koyuki, our resident sultry enigma played with style and pathos, and Ayano Go as friend-in-need Tamotsu. His tears won’t soon be forgotten; what a wonderful display of vulnerability in such a relatively short appearance. Musically, The Long Goodbye offers nothing I would listen to again. But for its purpose, building the atmosphere and tone of the drama, it’s perfect. Like the narrative style and cinematography, a classic approach is taken with the soundtrack. Everything gushes with dark, jazzy color—just like an old-timey film. Of everything one can hear in this drama, the theme song will be most memorable. As I type this out, I can still hear it playing in the back of my mind.