On one side of this magnificent disc: the previously unreleased 1945 version of THE BIG SLEEP, complete with a marginally comprehensible murder-mystery plot, and a certain quantity of insolent, double-entendre-laden, sexy dialogue that I will here designate as X.
On the other side: the tighter but weirder 1946 version. Key expository scene deleted. Plot totally impossible to follow, but there's about (X+20% of X) more brilliant, insolent, double-entendre-driven dialogue. 1946 is at least five times better than 1945. Why?
I don't know what the censors made of that in 1946, but I say it's proof of the power of the writer. If you establish and sustain a good love interest and get the lines right, you can overcome impossible obstacles -- like intricate, unfixed plot traps. (Sure, it also helps to have Howard Hawks directing two screen legends at the top of their game, but you get my point.)