Customer Reviews

Man Who Wasn't There [VHS]

5 star:		(71)
4 star:		(47)
3 star:		(16)
2 star:		(19)
1 star:		(8)

 

 

After the crowd-pleasing knockabout comedy of the 30s-set "O Brother, Where Art Thou?" - a cheery, New Deal proposition which played out like "I Am A Fugitive From A Chain Gang" under the direction of the Keystone Kops - the new Coen brothers movie adopts the grimly fatalistic tone of a 50s noir thriller, its brooding shadows cast by both the Second World War and the resulting paranoias. If "O Brother" was the "before" photo of an America singing its way out of a Depression, then "The Man Who Wasn't There" is the snapshot labelled "after". It's cold and dark, and is certain to put off as many visitors to the Coens' world as "O Brother" attracted.

Thornton, his nicotine-stained voiceover containing enough tar to merit a Government health warning, is Ed Crane, a small-town barber forever sweeping up after those around him. The most passive of active smokers, Crane barely moves for himself until the one false move he makes to kill off his wife's lover and set off a chain of events leading to his own demise; it doesn't come as too much of a surprise when this hero goes out not in a hail of bullets, but sitting down to die.

One of the great joys of a Coen movie is that they cast, right down to the minor roles, people who can act to the extent that it's a pleasure to spend every moment of a longish film in the same room as them. (Even in the non-speaking roles, the brothers cast fascinating faces.) "The Man Who Wasn't There" offers - aside from the more-than-capable Thornton, McDormand and Gandolfini in the lead roles - a supporting cast including Tony Shalhoub as a preening peacock of a lawyer, Jon Polito as the gay dry-cleaning entrepreneur who sets the story in (so far as one could call it) motion, and Michael Badalucco as Crane's verbose brother-in-law, getting the movie's most obvious, "O Brother"-style laughs in riding around on the back of pigs and winning pie-eating contests for the benefit of his young cousins.

Otherwise, the humour is muted and deadpan, existing in throwaway asides: this is a small town whose hotel, we learn, names its suites after operas. The film's funniest lines are those ascribed to other characters passing (unintentional) comment on the motionless hero: "Is he awake?," asks a physician at Crane's bedside, just after a road accident sparked by a young girl's assertion that the emotionless Ed is actually "an enthusiast".

The major talking point may be the look of the film. Whatever the ins and outs of the technical process whereby the brothers arrived at this quality of film stock, Director of Photography Roger Deakins here has access to aesthetically purer blacks and whites than any seen on the screen in the last forty years, and he makes notable use of the tonal palette this facilitates: you get a depth of field which allows an amazing grasp of the distance between a veil and a woman's face, or of the detail apparent when Ed submerges his wife's razor in her bath water, shaking hundreds of microscopic hairs to the bottom of the tub.

This sense of depth also applies to some of the themes apparent in the writing. Characterised by his lawyer as "the modern man", Crane is often framed in one-man-against-the-mass shots, walking against the flow of the crowd. This, I think, ties into the late 40s/paranoid 50s idea of "a modern man" as someone destined only to stand still - or, perhaps more expressively, doomed to do his own thing - while everyone else, their collective stock raised by the prosperity of the post-War boom years, gets rich quick around him. This was a period in which, if the McCarthyites didn't get you, the Commies would; if the Commies didn't get you, the A-bomb would; and if the A-bomb didn't get you, the Roswell aliens certainly would, so Ed's fundamental fatalism is perhaps entirely understandable. More importantly, "the modern man", in the Coens' eyes, is a sensitive type - Crane bemoans the fate of chopped hair - with no obvious outlet for what he's taken from life's hard knocks until it's just too late; his tentative and trembling relationship with a young pianist (Johansson) is exactly the sort of relationship the doomed hero of a 50s thriller would take up in the hope, for him as for us, of a last-reel redemption which invariably won't follow.

This idea of a hero unable - or unwilling - to do anything about his plight, and the Coens' trademark emotional reticence about such plights, means the film won't be for all tastes, but there's something undeniably compelling about the manner in which the filmmakers have humanised the old "what if a tree falls in a forest" riddle and wrestle with the resulting melancholy conundrum that haunts "The Man Who Wasn't There": what happens when a man who talks to nobody has nobody left to talk to?

Here's a film that falls into the category of "classic noir," all but perfectly presented by the Brothers who are, in many ways, reinventing the movie. With stunning black-and-white cinematography and splendid performances by Billy Bob Thornton and Frances McDormand (who, arguably, is one of the best actresses anywhere), the voiceover narrative of the unsmiling "hero" of the piece recounts the events leading up to his demise.

There is so much to like about this film: its faithful adherence to the exploration of small lives that become enlarged as a result of haphazard circumstance; its beautifully moody lighting and crisp images--where shadow has as much significance as light; and an overall evenness of tone that never for a moment hits a sour note.

Thornton, as the never-smiling barber with an acceptable life that is bereft of humor, of love, and of any viable friendship, gives a remarkably controlled performance that is perfectly matched by McDormand's barely contained appetite for love, for humor, for life, for something beyond the inertia of her marriage (to Thornton.) This is a film in which what goes unstated has as much power as what is; it also has what used to be referred to as a "sting in the tail" at the end.

Nothing can be anticipated in this film; the brothers exercise such great control over the material that even when the viewer thinks s/he knows what's coming, the surprise is there in the ironic ending.

A fine example of top-rate film-making, not to be missed.

I am typically too lazy to write, however the previous reviewer stirred me enough to demand a response. If you're interested in fast moving color films with stereotyped performances whose sole purpose is entertainment, then stick with Spielberg. I find it amazing that someone with such a poor understanding of film dares comment on it.
If you have an interest in film as an expressive medium and as a reflection of an individual's (or brothers') creative aspirations, you will perhaps at least appreciate the film. Furthermore, the cinematography is absolutely phenomenal, among the best I have ever seen (I dare rank it along side 'Last Year At Marienbad' in this respect).
This is the best Coen Bros. and among the best releases in the past several years.

This may be the best Cohn brothers' movie yet. Stellar performances by all, and a plot that contains no loose ends adds up to a great nouveau film-noir flick that shows what could happen when an unsuspecting man starts to travel down the wrong road. The ending is almost transcendant. This is the kind of movie Albert Camus might have made if her were a film writer and director.

I normally wind up with mixed emotions when it comes to films from the Coen brothers but I think they've got all their tricks in line with this one.

Those in the know with classic literature will easily notice that the "Man who wasn't..." is based on Camus' famed book "The stranger". The equations between this great book and the film are well balanced: the book is provoking and so is the film.

The plot is about a barber working in a small town. His life has all the tell-tale signs of a "nobody-special" man like him: his job isnt taking him anywhere, his marriage is a flat and boring non-relationship, his wife is double-timing him with one of his "friends", and he himself, well he doesn't seem to bother much about all that, or actually he doesn't seem to care about anything.

Life drags dully on, until the arrival of someone who tells the barber of his plan to hit the market with a new revolutionary business plan: dry cleaning. The whole scheme sounds attractive and has money-making potential written all over it but the missing element is the capital. The barber's mind goes on an interesting vortex of planning. He blackmails his well-off friend who has the affair with his wife for a nice bulky sum. That seems to work, the money is given, and then given on to the dry-cleaning guy and then, well, perhaps predictably, the wheels of the wagon start coming off in disturbing and untimely manner.

Without fully realising how it all happened, the barber winds up in a plot which involves a murder he commited, his wife in jail accused for it, the dry-cleaning guy gone with the dough, him looking for a good lawyer to save his wrongly accused wife, and in the midst of it all, he still seems to deal with this nicely unraveling disaster very apathetically.

But his apathy isnt rewarded much as thing keep becoming more intricate and more threatening.

Just as it had been with his wife, he tries to start a relationship in extremely platonic terms with another young woman, but alas, that comes to spell his ultimate doom. No need to reveal the cool bringing-it-all together ending of the film especially for those that havent seen the film.

But besides a great story line, "The man who wasn't..." is blessed with other assets too, mainly the stellar performances from Thortnton himself who gives apathy a new look, and F.Mcdormand who (as usual) is exemplary in her role. But also the usually underrated J.Gandolfini is great as are all the second characters as well.
The Coen bros. do wonders with the camera, the lights and the reenacting of the 30s atmosphere making this an unheralded masterpiece.
While the film is actually a take on the philosophy about life, or to be more specific, an approach that reads "who cares really, let it all unwind and see what happens", it will go down easily with mostly anybody. The characters portrayed here are as real-life as they come and the depiction of the basic faults (?) of human nature is given to perfection.

Greed, scheming, extreme selfishness, hypocrisy, and all the things that are products of the above come in display. And in the end as the "hero" from the barber shop sees it all collapse in smouldering flames he thinks: "maybe all this means that I'm going to a better place. Who's to say"..And that's the thing really: who's to say?

Great film in all possible respects and quite probably the best made by the Coens so far.

Smart movie.
Very artistically done; the black and white cinematography is amazing.
Superbly acted.
And, in the true sense of the Film Noire genre, keeps you guessing at every turn.
I found the ending quite unexpected, and though a bit on the down side, successfully portrays the more chilling aspects of human existence, leaving the viewer with some food for thought, and the age-old dictum about crime not paying.
Well done.
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This review is for the 2002 Universal DVD.

The story is set in the late 1940's, where a small town barber named Ed Crane (Billy Bob Thorton) concocts a slick blackmail scheme targeting his cheating wife Doris (Frances McDormand) and her boss 'Big Dave' Brewster (James Gandolfini). After the payoff, Big Dave figures out that Ed set him up and a violent fight ensues where one of them is murdered. The cops arrest of the wrong person and a big city lawyer named Freddy Riedenschneider (Tony Schalhoub) is hired to defend the accused. This sets up the rest of the film for plenty of unexpected twists and turns along with a lot of subtle comedy.

The Coen Brothers now have a long resumé of wonderful films and this by far my personal favorite since there are many things that work brilliantly in this movie. First, the black and white cinematography strikingly captures the mood and feel of a late 1940's film. Second, the deadpan narration and stoic body language by Billy Bob Thorton is mesmerizing. Third, the attention to detail of the props, decorating and fashion styles is done to perfection. Fourth, the plot is slick and original. Finally, the comedy is as dark as the dead of night, but works magically in this bizarre and macabre atmosphere. I enthusiastically recommend this film - especially if you enjoy old film-noir flicks.

The DVD widescreen black & white presentation is superb, as it should be, since the movie was shot in 2001. There are many bonus features including commentary by the director Joel Coen and actor Billy Bob Thorton.


Movie: A+

DVD Quality: A+

In my mind, there are two filmmakers currently working who consistently make good/great, intelligent films in a variety of genres that are always of the highest quality. One of those people is Steven Soderbergh. From his first film, a little independent film about modern relationships called "sex, lies & videotape" to a film about a boy during the depression in Kansas City, "King of The Hill" (one of the most underrated films ever) to "The Limey", "Erin Brockovich" and "Traffic", each film has raised the bar on his own ability further revealing his ability as a filmmaker. The other is the Coen Brothers. The Coen Brothers have primarily concentrated on comedies, often the hardest genre to pull off, but their comedies have ranged wildly in tone and pitch. They have also created some of the most memorable dramas of the last few decades. I would put forth that no other filmmaker, working consistently, has created such a diverse, technically superior library of films since Billy Wilder. Their first film, "Blood Simple" was a great evocation of the classic film noir, filmed in color, set in Texas. It took the genre to new heights. They followed this film with "Raising Arizona", a brilliant updating of the screwball comedy, "Miller's Crossing", a great gangster film set in the 30s (also one of the most overlooked films ever), "Fargo", a comedy- mystery with a pregnant cop as the hero, "The Big Lebowski", a completely different comedy from their other efforts and "O Brother Where Art Thou?", a great mix of mythology, blue grass music and 30s prison films. Both Soderbergh and the Coen Brothers have consistently improved their skills and storytelling mastery, a scary prospect when they both started at such a high level.

The Coen Brothers are different from Soderbergh in that some of their films take a while to sink in, for the viewer to recognize the eccentricities of the film. "The Big Lebowski" was like this for me. Only on the third screening, did I begin to appreciate it. Most of their films have earned cult status and fans of their films repeatedly watch them.

Another aspect of their films that is very consistent is the level of technical expertise. Working with people on a number of projects, they have clearly formed working relationships with these key people that serve to enhance each film. Each of their films is a tribute to a certain genre or type of filmmaking. When you watch a Coen Brothers film it is very easy to see what they are trying to pay homage to because they usually get every detail right. "Miller's Crossing" captured the world of 30s gangsters in such a way that I believed Gabriel Byrne's character was a mobster. "Blood Simple" was an early evocation of Noir that used color as the classic Noir's used shadow. "Raising Arizona" is simply one of the best screwball comedies to be made in a long time. Everything is off-kilter and out-of-whack. "O Brother Where Art Thou?" used shades of sepia and yellow to give the film an old, weathered look, much like an old hymnal. "The Man Who Wasn't There" continues this trend of technical excellence.

Ed Crane (Billy Bob Thornton) is a barber in a small shop in Santa Rosa, California. He is the second chair in a shop owned by his brother-in-law, Frank (Michael Badalucco). Frank talks and talks and talks causing Ed to further tune out a life he isn't happy with. His wife, Doris (Frances McDormand) is the accountant at Nirdlinger's Department Store and works for Big Dave (James Gandolfini). Ed suspects that Doris and Big Dave are having an affair but doesn't really have a reason to do anything about it. Until he is presented with a business opportunity. Creighton Tolliver (Jon Polito) gets a haircut and talks about his business idea. Dry Cleaning. He has the idea; he just needs the capital. He just needs $10,000. His former investor backed out leaving him holding the bag. Ed now has a reason to do something about the affair.

Joel and Ethan Cohen have created a modern masterpiece of film Noir. Filmed in color (at the insistence of the studio), but processed in black and white, the film's look is lush, rich, shadowy and simply perfect. Evocative of such Noir classics as "Shadow of a Doubt" and "Double Indemnity", the film evokes the late 40s in a small town down to the smallest detail. Joel and Ethan write their films and Ethan produces them while Joel directs. From the moment we watch the beginning credits cast a shadow on a barber pole, we realize we are in for a treat.

They have created a series of characters that combine all of the best elements of the Noir film and have added a dose of black humor. Ed Crane is your typical Noir anti-hero. Unhappy with his life, Crane almost never smiles and almost always has a cigarette in his mouth. His perfect hair cut and dour clothes are evocative of how serious he takes his job and how depressed he is with his life. The fact that he doesn't get mad at Doris when he realizes he is having an affair is also perfect for the character. Doris, as played by Frances McDormand, is also perfect. Quiet, in a way, but pushy also, she is clearly more interested in other pursuits than her marriage. Gandolfini is also great as Big Dave, a character reminiscent of many Noir characters. As the Coen Brothers have created a sort of tribute, each character embodies many elements of famous characters from other films, but they are played more realistically than they might have during the 40s and 50s. Each of the characters is funny, but also has a little touch of reality. Tony Shalhoub is very memorable as the slick lawyer Freddy Riedenschneider. Richard Jenkins steals his few scenes as a local lawyer by the name of Walter Abundas. Scarlett Johansson plays Birdy Abundas, a local piano prodigy.

The cinematography by Roger Deakins (who has worked on a few Coen Brothers' films) is outstanding. Always conceived as a black and white film, USA Films reportedly insisted that the film be shot on color film for foreign territories. The prints in the US will be black and white and we are luckier for it. The film has a lush quality that comes from the era, but it also comes from the shadows and the attention to detail. The Crane's house is filled with shadows that ripple and move providing a sort of prison for their feelings and emotions. When Ed visits Nirdlinger's at night, the department store takes on a completely menacing look as he walks through the shadowy, mannequin filled interior. A scene in a prison interrogation room is simply beautiful as Shalhoub's character walks back and forth in a blinding ray of light, the light broken by the bars of the small round window. This is a film that a film student or aficionado will love.

The score by Carter Burwell (also a frequent Coen Brother's collaborator) uses selections from classical piano, played on one piano, to set the right mood. Tied into the story, the single finger plucking at the Beethoven helps to create an air that is, at times, lush and musical, and other times menacing.

As the story progresses, the comedy becomes more infrequent as the Noir and drama elements take over. This doesn't mean that the strange characters and situations, trademarks of a Coen Brothers' film, are abandoned. When one of the characters gets into a car wreck, we hear a bit of voiceover over a shot of a field, then a hubcap comes sailing into the frame which morphs into something else, which is further tied into the film at a later point. Two cops show up who seem to have a problem communicating with their suspects and what they have to say. All of these different elements help to create a very rich film that will amuse the viewer. It will also require repeat viewings to pick up all of the details.

"The Man Who Wasn't There" is a film that I will definitely see again, not because I didn't get certain elements, but because I loved it so much and want to experience it on the big screen before I buy the DVD (which will hopefully be loaded with extras).

If you love old Hollywood movies and really great acting then check out this one. Billy Bob Thorton gives an awesome performance as the put-upon lead character with equally well performed characters by Tony Shaloub, Frances McDormand, James Fandolfini, and others. But be warned, if you don't or can't enjoy dark comedies, then do yourself a favor and skip this one. It isn't an idiotic summer blow-up movie, there isn't any women running around topless, and best of all though is this movie has great dialogue. If you enjoy old film noirs like anything by Hitchcock, then buy this one.

An earlier reviewer referred to one of the characters in "The Man Who Wasn't There" as the "innocent piano girl." Evidently the cause of the car accident, her attempt to perform fellatio on Billy Bob Thornton's character, Ed, went unnoticed. That's the point. Nobody in "Man" is innocent. At one point, Ed tells the piano girl that he has been dealt some bad cards, or not played well the cards he's been dealt. Neither has anyone else. Every character expresses the irony of the title. No one is really "there." Gandolfini's character turns out to have lied about his exploits in the war. His society heiress wife believes her husband was abducted by UFO's (outside Eugene, Oregon, no less). McDormand's character met Ed on a blind date and they've been blind to each other ever since. This is the meaning of Shalhoub's lawyer's speech: The more you look, the less you see.

This is why "Man" held my interest. Across the arc of my life I have thought I knew certain persons very well. Let a certain set of events take place, though, especially if I set them in motion, and something unrecognizable appears. That's the deepest tug of "Man." Even when we look, there's no face to see. Manipulation cannot save Ed or anyone else; well-intentioned efforts cannot save; the most expensive lawyer cannot save; neither can fantasies of flying saucers or the return of the dead. The ending of the film, with its hope that somewhere Ed and Doris can really talk with each other, hints at the faith and hope that are required to persevere.

One other comment: The reviewers who observe that "Casablanca" is not an example of film noir are right. "Man" is a worthy reinterpretation of the genre, what "The Maltese Falcon" would have looked like if it had been made today. O.K., one more comment: The script never claims that Big Dave killed the pansy. That's the meaning of his obvious homosexuality. In 1949, that lifestyle was even more dangerous than it is today.