|
| . |
|
The Man Who Wasn't There 2001 |
Review by Jonathan Cornwell |
Directed by Joel Coen
R, 117 min. (scene of violence) |
 |
Starring: Billy Bob Thornton, Frances McDormand, James Gandolfini, Michael Badalucco, Scarlett Johansson, Jon Polito, Tony Shalhoub, Katherine Borowitz
Producers: Ethan Coen, Tim Bevan, Eric Fellner
Screenplay: Joel Coen, Ethan Coen
Distributor: USA Films
Released: 11/2/01 (Limited) |
Rating:
  (out of ) |
The Coen brothers have always done things a little differently from that of their peers, and with The Man Who Wasn't There,
they've reached another distinct level of storytelling, much in the tradition of Alfred Hitchcock. Undoubtedly, most will
immediately see familiarities in the look, feel, and pacing with some of Hitchcock's classics. Their homage to the popular genre in
the 1950s is apparent as the film is shot in black and white, and is directed by Joel Coen in a very 50's way. Every shot is
crafted to accentuate dark lighting, constant cigarette smoke, and a smoldering feeling of impending doom on the main
characters. It's told in a narrative style, and is able to seemlessly blend a sometimes complicated storyline with its protagonist - in this
case Billy Bob Thornton in a role that he obviously relishes playing. The result is a visually rich, intriguing film that keeps
its audience deeply entrenched in its slowly developing story.
The chance to play a role in a Coen brothers film is a welcome idea for most actors today, so the choice of Billy Bob Thornton
in the role of the mysteriously quiet barber, Ed Crane, was an easy one. Crane works for his brother-in-law at a barber shop,
not because he enjoys cutting hair, but merely as a result of marrying into the family. He's the epitome of laid back - he's
the only guy in
the room that wouldn't flinch at a loud noise that terrifies everyone else. He does his job, smokes, sweeps up,
and goes home to his joyless wife, Doris (Frances McDormand), who's having an affair with her boss, Dave Brewster
(James Gandolfini). His monotonous routine is interrupted by a slick salesman (Jon Polito) who has an original idea - dry
cleaning. The catch - he needs $10,000 up front to become a silent partner in the business. He blackmails Dave for the
money by threatening to expose his affair to the public, and seemingly is all set. But when the salesman mysteriously
disappears, Ed's life quickly turns into an ever-tightening noose that he can't seem to escape.
The film is slow-paced and deliberate, but never wears on your patience. The reason - scene after scene of masterfully
framed shots to portray thoughts, feelings, and foreshadowing. With an effective narrative by Ed Crane himself, we see
glimpses of his pyche at various intervals, but never know completely where the story is going to take us. Relationships
are presented, and those relationships are used as instruments to understand future relationships. Ed Crane may be a simple
man, but he's not unintelligent. He understands his role in society, and is content with downplaying any advantage he
may encounter. The irony is that the first real risk he takes in his life threatens to destroy everything ordinary that he's
clung to for so long.
The performances are strong and well thought out. Every cast member knows exactly what's expected from their role, no
more, no less. It's a clinic on how to portray a character by the book - in other words, what you see is what you get. Yes,
there are surprises, but the characters themselves are not unpredictable. There's lying, cheating, and deception, but their
actions are strongly correlated with their roles. Frances McDormand is rarely ineffective, and she delivers her performance
with conviction. Gandolfini plays a similar character to his popular role in the Sopranos, and Tony Shalhoub is bluntly
accurate in his portrayal as a egotistic, fast-talking lawyer. Even Scarlett Johansson (The Horse Whisperer) is a welcome
addition to this solid cast.
The Man Who Wasn't There can be considered a thriller, but also a character study that asks more questions than it answers.
Through the eyes of Crane the story is simple, yet at the same time a vexing affair. The movie is in the tradition of other
film noirs from the 40's and 50's, but has its own distinct style that hints at a Coen brothers project. It seems the brothers
had a lot of fun with this picture, and it shows in their work. Although a great film (one of the year's best), it doesn't quite
reach the level of their masterpiece Fargo, but in some ways is superior in style and cinematography. There's also
the familiar ironic humor that lies just beneath the surface - a trait in almost all their films. As in the tradition of Hitchcock,
the film concludes with the idea that sometimes you're just not in control of your life, whether you like it or not.
© 2001 Jonathan Cornwell
|
|
| Masterpiece - Classic; Movie perfection |
| Excellent - A Must See; One of the year's best films |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
© 2000 - present ReelCriticReviews
All movie pictures are registered trademarks and/or copyrights of their respective holders
Their use on this site is for informational purposes only and does not imply ownership
|
