The first example of this is the General's despair at the disappearance of his close companion and son-in-law, Sean Regan, "Sean has left me". Marlowe briefly takes over Regan's role when he drinks brandy in the conservatory with his employer. This is the only time in the film where Marlowe can enjoy this type of male companionship, as unlike many noir films of the time, he has no male best friend. This means that he is alone and vulnerable, with only a woman (Vivian) to turn to. This is echoed in Dead Reckoning (1947), where Bogart's character is left with only a female companion in which to place his (misguided) trust.
The theme of homosexuality is developed in the relationship between the characters of Lundgren and Geiger. Lundgren has a key Geiger's house and murders Brody in misguided retribution for his friend's death. Marlowe again takes a partial and temporary part in this relationship, when he forces Lundgren back to Geiger's house. There he teases him with Carmen's feminine gun. Although he beats Lundgren, he also ties him up, echoing the idea of the "misdemeanours" that Lundgren and Geiger had previously experienced in the house together.
The undercurrent of homosexuality is again repeated in Eddie Mars" threat to Marlowe, (whilst they are in Geiger's house, to which Mars also possesses keys) that he has got "two boys outside". Marlowe replies "Oh, it's like that, eh?" Again reinforcing sexual implications. However, there are differences between Marlowe and the other male characters. When in Mars" nightclub, Mars is shown to be isolated, in particularly he is separated from women, where as Marlowe is immediately sought out by an attractive croupier wearing a mini-skirt.
Bogart's character does demonstrate a witty masculine personality at various points in the film. He laughs off Carmen's childish sexuality by telling her father "she tried to sit on my lap while I was standing up.
