Frantic

Directed by Roman Polanski and written by Roman Polanski and Gerard Brach with additional contributions by Robert Towne and Jeff Gross, Frantic is the story about an American doctor who travels to Paris to visit his wife as she suddenly disappears prompting him to go on a search for her whereabouts all over the city. The film is a suspense story that revolves a man’s desire to find his wife as he gets help from a young street-wise woman who knows about the dark underworld that is in the city. Starring Harrison Ford, Betty Buckley, John Mahoney, and Emmanuelle Seigner. Frantic is a gripping yet mesmerizing thriller from Roman Polanski.

When the wife of an American doctor is kidnapped in Paris where her husband is trying to find her whereabouts. It is often in the schematics of things for the man to go on the search for his wife by himself. While the film does play into that, it revolves around a suitcase that later belongs to someone else as its owner is a young woman who was supposed to smuggle something in the suitcase unaware of its contents. Once this doctor and young woman figure out why they’re attracting trouble over a suitcase. What occurs is the fact that there is an object in the suitcase that some very important people want as this doctor and young woman are caught in the middle as all the doctor wants is his wife back.

The screenplay by Roman Polanski and Gerard Brach does play with the conventions of a suspense-thriller that often involves kidnapping angles. Yet, they add other elements to the stories such as the fact that the film’s protagonist in Dr. Richard Walker (Harrison Ford) has to deal with not just some of the American bureaucracy involved as it complicates issues in the search for his wife. There’s also all sorts of people that wants something in this suitcase that belongs to this young woman named Michelle (Emmanuelle Seigner). While Michelle admits that she smuggles drugs for a dealer, she has no idea about some of the contents she was carrying in that suitcase. All because Michelle and Dr. Walker’s wife Sondra (Betty Buckley) each got the wrong suitcase, a whole lot of trouble comes in as Sondra is kidnapped and Dr. Walker goes on this frantic search to find her.

The script does explore the idea of how police and these American political issues complicate things for Dr. Walker as they’re more concerned about other things. Notably as it would also involve various people where Dr. Walker and Michelle realize what they’re after. For Dr. Walker, he can use this object as a bargaining chip to get his wife back while Michelle just wants money for bringing the object to them. Still, they have to deal with forces who are very dangerous and this object, which is a Macguffin, is what everyone else is after where Dr. Walker would finally take control of this deal.

Polanski’s direction is quite entrancing for the way he explores the world of kidnapping and a man’s desire to retrieve his wife. Notably as he creates a lot of interesting compositions to establish the sense of mystery that occurs in the film. Shot on location in Paris, Polanski creates something where it does involve this American who doesn’t speak much French as he’s either dismissed or misinterpreted by the locals. Yet, he does get help from a few people who understand what he’s going through. Polanski uses close-ups to unveil some of the tribulations that Dr. Walker is going through as well as some eerie moments in the nighttime moments where Dr. Walker is trying to uncover the mystery. In this world full of nightclubs filled with lots of reggae music, Dr. Walker is definitely in a world that he doesn’t really know much about as it is a very seedy side of Paris.

Polanski’s direction also allows the film to have a bit of humor such as a scene of Dr. Walker walking on the roof of Michelle’s apartment with the suitcase that reveals his sense of awkwardness while some of the humor also comes from Michelle who is just a young woman that likes to chew bubblegum. Polanski also create moments where he allows the characters to improvise a bit to get out of situations while maintaining that sense of suspense that is prevalent through the film. Notably in the final showdown involving Dr. Walker, Michelle and the people who has Sondra where it is about who gains what yet there are also forces that want something as Polanski maintains that intensity in the suspense. Overall, Polanski crafts a very engaging and chilling suspense film that doesn’t lose sight of its intentions as well as its characters.

Cinematographer Witold Sobocinski does excellent work with the cinematography from some of the nighttime interior shadings in the apartments and at Dr. Walker‘s hotel room to some of the look of Paris at dawn in some of the film‘s exterior scenes. Editor Sam O‘Steen does brilliant work with the editing by using some methodical rhythmic cuts to play out some of the film‘s suspenseful moments as well as some of its comical moments. Production designer Pierre Guffroy does nice work with the look of the hotel rooms that Dr. Walker is staying at as well as the apartment that Michelle lives in.

Costume designer Anthony Powell does wonderful work with the costumes from the stylish clothes of Michelle to the more reserved look of Dr. Walker. Sound editor Laurent Quaglio does fantastic work with the sound to capture the atmosphere of the nightclubs as well as some of the eerie moments in the film. The film’s music by Ennio Morricone is phenomenal as Morricone creates this haunting score filled with ominous string arrangements with a bit of guitar in the mix to play out some of its suspense and drama as it’s one of his more overlooked scores in his revered career. The soundtrack features a mix of jazz and electro-pop music with a dash of reggae as it includes contributions by Simply Red and Grace Jones to play out the sense of youth that Michelle revels in.

The film’s cast is amazing as it features some notable small roles from Dominique Pinon as a wino who witnessed what happened to Sondra, Dominique Vitron as the hotel desk clerk, Jacques Ciron as the hotel manager, Jimmie Ray Weeks and John Mahoney as U.S. embassy officials, Thomas M. Pollard as a Rastafarian that Dr. Walker meets, David Huddleston as a colleague Dr. Walker meets at the airport, and Yorgo Voyagis as the kidnapper. Betty Buckley is terrific as Dr. Walker’s wife Sondra who becomes a victim of troubling circumstances in order to get an object that Michelle was supposed to deliver.

Emmanuelle Seigner is superb as the street-wise Michelle who helps Dr. Walker navigate through the streets of Paris to find Sondra while being a woman with her own agenda as it’s a wonderful debut performance for the actress. Finally, there’s Harrison Ford in an incredible performance as Dr. Richard Walker as a man who is just determined to find his wife where Ford brings the every-man into the character as well as a vulnerability that allows him to be very engaging in the plight that he’s facing.

Frantic is a marvelous suspense-thriller from Roman Polanski that is highlighted by the brilliant performances from Harrison Ford and Emmanuelle Seigner. While it’s a thriller that does play to conventional tactics, Polanski is able to make it very engaging as well as bring a sense of human drama that is prevalent through the film. It’s also one of Polanski’s more overlooked films for the fact that he is able to create something that does more for the suspense genre. In the end, Frantic is a masterfully-crafted thriller from Roman Polanski.

Roman Polanski Films: Knife in the Water - Repulsion - Cul-de-Sac - The Fearless Vampire Killers - Rosemary's Baby - Macbeth (1971 film) - (What?) - Chinatown - The Tenant - Tess - (Pirates (1986 film)) - Bitter Moon - Death and the Maiden - The Ninth Gate - The Pianist - Olivier Twist (2005 film) - The Ghost Writer - Carnage - (Venus in Fur) - (Based on a True Story) - (An Officer and a Spy) - (The Palace)

© thevoid99 2013

The Hudsucker Proxy

Directed by Joel & Ethan Coen and written by the Coen Brothers and Sam Raimi, The Hudsucker Proxy is the story of a business graduate who starts out as a mailroom clerk and then creates an idea that makes him the president of the company. Meanwhile, a company director decides to create a scam where the young president will take the fall. The film explores the world of ambition as it combines many of the Coen Brothers unique humor and quirks. Starring Tim Robbins, Jennifer Jason Leigh, Paul Newman, Bill Cobbs, Bruce Campbell, John Mahoney, and Charles Durning along with appearances from Coen Brothers regulars John Goodman, Steve Buscemi, and Jon Polito. The Hudsucker Proxy is a sprawling yet witty film from the Coen Brothers.

It’s 1958 as Norville Barnes (Tim Robbins) arrives to New York from Indiana looking for a top job with his business degree. The only problem is that the jobs need experience as he ends up working on the mailroom as a clerk for Hudsucker Industries. On the day he arrives into the building, the company’s founder Waring Hudsucker (Charles Durning) jumps out of a building where the board wonders what to do as directing manager Sidney J. Mussburger (Paul Newman) devises a scheme to implant a moron as company president for the stock to go down so he can buy its controlling interest. When Norville is asked to deliver the infamous blue letter to Mussburger, things go bad as Mussburger uses Norville to become president as stocks start to go down.

With news over Norville’s new role as president of Hudsucker Industries, Pulitzer Prize-winning reporter Amy Archer (Jennifer Jason Leigh) of the Manhattan Argus is assigned to write about Norville as she pretends to be his secretary to find out more about him. During her work posing as Norville’s secretary, she discovers about Mussburger’s plot from the scoop of the building’s clock operator Moses (Bill Cobbs). After a disastrous party with investors, Norville unveils his new idea in the hula-hoop as Mussburger believes it will be the product that will put Hudsucker stock further down. Instead, Mussburger’s scheme backfires when the hula-hoop becomes a smash hit with Norville being the toast of the town much to Mussburger’s dismay.

Norville’s sudden arrogance leads to Amy’s resignation as secretary as he struggles to find new ideas where the building’s elevator operator Buzz (Jim True-Frost) is fired for creating the flexi-straw as Norville claims it’s a stupid idea. Meanwhile, Mussburger makes a discovery through his henchman Aloysius (Harry Bugin) as he uses the secret to overthrow Norville who is condemned as a fraud until he discovers a much bigger secret.

The film is about a naïve business graduate who unknowingly becomes part of a directing manager’s scheme for a business to fail only to backfire when an idea becomes hugely successful. It’s a film that explores the world of corporations and schemes where a board director tries to take control of a company’s stock as he implants this very nice but dim-witted man to become company president so everything would fail. Yet, there’s strange forces such as a fast-talking news reporter and a clock operator who would play with the fates of this young man as the former eventually falls for him.

The script by the Coen Brothers and Sam Raimi does have a bit of formulaic air to the story such as Norville Barnes’ evolution from naïve mail clerk to a smug president who starts to act like the man who is trying to make him look like a fool. Yet, it does manage to work in the way that Norville is portrayed as a guy who just wants to help a company after the death of its founder as he would create an idea that would eventually help the company out much to the dismay of the board and its antagonist Sidney J. Mussburger. Mussburger isn’t a typical villain due to the fact that he’s very smart while slyly plays mentor to the well-meaning Norville and build him up only to tear him down.

Then there’s Amy Archer who starts out as a spy trying to figure out if Norville is the imbecile that people claim to be but she realizes he’s just a pawn for something bigger as she tries to help him become the president the company needed. Though the part about her falling for him is sort of clichéd, it’s what the Coens and Raimi go for since it’s a film that is a tribute to these slapstick comedies as Archer is a character who is quite complex as she sort of acts like a tough broad in the newsroom only to realize that she acts too masculine to fit in with the boys. Despite a few issues with the story, the Coen Brothers and Sam Raimi do create a very entertaining and clever script.

The direction of the Coen Brothers is definitely stylish from the way the board room meetings are shot to the way the mailroom is presented with tracking camera shots to exemplify its chaotic atmosphere. Style is definitely prevalent in the way the Coen Brothers chose to present the film as it features fake newsreel clips along with headlines and all sorts of things to play up Norville’s rise. With Sam Raimi providing some second unit direction for some exterior shots as the film includes a lot of set pieces and an opening crane shot that features New York City presented as miniature sets. The overall work that the Coen Brothers create is truly fascinating as they create a truly superb and engaging film.

Cinematographer Roger Deakins does a brilliant job with the film‘s photography from the way the offices are lit for day and nighttime exteriors to set the mood to the more lavish array of lighting for the snowy climatic scenes in the city. Editor Thom Noble does a nice job with the editing to play up the sense of style while creating dazzling montages of Norville’s rise to success. Production designer Dennis Gassner, with set decorator Nancy Haigh and art director Leslie McDonald, does a fantastic job with the set pieces created such as the offices of Norville and Mussburger to the room in between where the building’s clock is being operated.

Costume designer Richard Hornung does fabulous work with the costumes from the suits that the men wear to the stylish dresses that Amy wears to play up her tough personality. Visual effects supervisor Michael J. McAllister and miniatures supervisor Mark Stetson do amazing work with the visual effects creating including the film‘s opening shot and the scene involving Waring Hudsucker‘s suicide fall. Sound editor Skip Lievsay does terrific work with the sound from the way the clocks sound inside to the chaos of the party, mailroom, and newsroom scenes.

The film’s score by Carter Burwell is excellent for its playful pieces for the film’s humor to more soaring orchestral arrangements that play up Norville’s triumphs and other suspenseful, dramatic moments in the film. The film’s soundtrack also includes an array of standards from Duke Ellington and Grace Bumby to classical music from Georges Bizet, Frederic Chopin, Luigi Boccherini, Peter Tchaikovsky, and Aram Khachaturian.

The casting by Donna Isaacson and John S. Lyons is great for the ensemble that is created as it includes cameos from Coen Brothers regulars like Steve Buscemi as a beatnik bartender, Jon Polito as a businessman-in-waiting, and John Goodman as the voice of a newsreel man. Other notable appearances include Peter Gallagher as a lounge singer, Mike Starr as a news reporter, Patrick Cranshaw as an aging mail sorter, Bruce Campbell as a news reporter Amy likes to slap around, and notorious Playboy Playmate Anna Nicole Smith as a bombshell Norville was linked to. Standout small but noteworthy supporting parts include John Mahoney’s as Amy’s news-grabbing editor, Harry Bugin as Mussburger’s silent henchman Aloysius, Bill Cobbs as the wise and informative clock operator Moses, Jim True-Frost as the fast-talking elevator operator Buzz, and Charles Durning in a small but very memorable part as Warring Hudsucker.

Jennifer Jason Leigh is great as the fast-talking and snooping reporter Amy Archer who sports a very exaggerated accent as Leigh brings great humor and charisma as the woman who unlikely falls for Norville. Paul Newman is outstanding as the smarmy Sidney J. Mussburger who tries to scheme his way into taking over Hudsucker Industries as he brings a wonderful sense of charm and bravado to the character. Finally, there’s Tim Robbins in a wonderful performance as Norville Barnes as he brings a boyish persona to a guy that hopes to do great only to be a pawn in a scheme as Robbins exudes some humor and humility into the role.

The Hudsucker Proxy is an extraordinary film from Joel and Ethan Coen. Featuring marvelous performances from Tim Robbins, Jennifer Jason Leigh, and Paul Newman, it’s a film that is very entertaining despite the fact that there’s more style than substance. Still, it is a joy to watch and never has a dull moment while not pretending to be this very extravagant period piece. In the end, The Hudsucker Proxy is an enjoyable film from the Coen Brothers.

Coen Brothers Films: Blood Simple - Raising Arizona - Miller's Crossing - Barton Fink - Fargo - The Big Lebowski - O Brother, Where Art Thou? - The Man Who Wasn’t There - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

© thevoid99 2012

Barton Fink

Written and directed by Joel and Ethan Coen, Barton Fink is the story of a pre-World War II playwright who moves to Hollywood to write a script for a B-movie studio. During his stay in a Hollywood hotel, he encounters strange oddities as well as individuals who help shape the script as faces pressures to give in to the trappings of Hollywood. The film explores the world of the writer and his attempt to create something meaningful in a world where he’s writing to satisfy others. Playing the titular character is John Turturro in his second collaboration with the Coen Brothers. Also starring John Goodman, Judy Davis, Michael Lerner, John Mahoney, Steve Buscemi, Tony Shalhoub, and Jon Polito. Barton Fink is an extraordinary film from the Coen Brothers.

After scoring another hit on Broadway, playwright Barton Fink becomes a success as he tries not to take the praise seriously. His friend Garland Stanford (David Warrilow) asks Fink to go to Hollywood for a week to write a script for the B-movie studio Capitol Pictures to the tune of $1000. Fink isn’t sure thinking it would betray everything he writes about but eventually decides to as he checks into a strange hotel run by a resourceful bellhop named Chet (Steve Buscemi). Meeting with studio head Jack Lipnick (Michael Lerner) and his assistant Lou Breeze (Jon Polito), Fink is asked to write a movie about pro wrestling as Fink has no clue about the world of pro wrestling. He later meets with fast-talking producer Ben Geisler (Tony Shalhoub) about what to do with a pro wrestling film.

At the hotel, Fink meets his neighbor in a big traveling salesman named Charlie Meadows (John Goodman) as the two become friends while Meadows help Fink out with the world of pro wrestling. Despite dealing with writer’s block and overwhelmed with meeting Geisler, Fink bumps into famed novelist W.P. Mayhew (John Mahoney) as the two have lunch the next day with Mayhew’s secretary/lover Audrey Taylor (Judy Davis). The lunch is a disaster due to Mayhew’s alcoholism as Fink continues to deal with writer’s block and more meetings with Lipnick and Geisler. At one particular night, Audrey visits him at his hotel as she reveals to Fink some secrets about Mayhew as she helps him with his script.

Later that morning, something bad happens as Fink asks for Meadows’ help where Meadows manages to take care of things while revealing he had to leave for New York for business. Fink becomes inspired to write a script as he later deals with two detectives named Mastrionotti (Richard Portnow) and Deustch (Christopher Murney) who are looking for a madman named Mundt. Fink finds himself in trouble as he tries to come to terms with his role as a writer.

The film is essentially about a playwright who writes about the common man going to Hollywood where he would be compromised as he deals with writer’s block and encounter strange things in the seedy hotel that he’s staying in. Among them is this mysterious neighbor who makes loud noises while would help him explore the world of pro wrestling that he’s supposed to write about. It is a film about writing and how writers try to put their own voice into a story when someone is telling them that they’re supposed to do this and that. It’s also an exploration into the world of writer’s block as the film’s titular character deals with it head on because he has no idea how to write for other people when he was known for writing for himself.

The screenplay that Joel and Ethan Coen create explores a man being compromised while he would also meet another revered writer whom he’s fond of only to realize that he’s not the man that he idolized. Notably as his secretary would reveal secrets that would further destroy that myth as she would help Barton Fink find his voice into writing this screenplay about wrestling. What the Coen Brothers also do is create this world where the writer is believed to be king but they’re only to serve a higher purpose for a studio as Fink would have a hard time trying to find voice in this world that he is so foreign to while he wants to remain grounded and not give in to adulation. The script is a character study about a man’s motivation to be a writer while dealing with all sorts of trapping in being loved by critics but also have Hollywood build him up only to anticipate tearing him down.

The direction of the Coen Brothers is truly a marvel to watch in the way they create the world of 1940s pre-World War II Hollywood as they show a contrasting world of where Barton Fink is. Whereas Fink lives in this very dilapidated hotel where wallpapers are peeling off the wall, mosquitoes appear quite often, and there’s annoying bellhop who is often to helpful named Chet. The world that he steps into is very rich and there’s a lot out there as it’s to exemplify the world that Fink could be apart of he just writes for what they want him to do. This establishment of the differing worlds that Fink encounters as Coen Brothers emphasize what Fink could have when really, neither the hotel he’s living in nor the world of the rich, successful writers and studio kingpins aren’t that great.

Through these entrancing shots of the hotel hallways and lots of rapturous compositions, the Coen Brothers create a film that is quite engaging while also making fun of Hollywood a bit. Another highlight of their direction is the way they guide actors by having them into a frame or to direct a conversation where it’s about the rhythm. The scenes involving Fink and Lipnick are rich in the way the Coens capture the intensity and drama of these conversation not just in the framing but also in the way the editing times these cuts as the Coens do amazing work in the editing under their moniker Roderick Jaynes. Other moments such as the climatic moment involving the two detectives in a fiery hallway represent the Coens just going all-out. It’s truly a film that isn’t like any other film as the Coen Brothers create what is undoubtedly a film for the ages.

In his first collaboration with the Coen Brothers, cinematographer Roger Deakins does a truly spectacular job with the film’s photography who creates a vastly wonderful look in the film’s hallway and hotel interiors to establish a tone while the exteriors of the California sun exemplify a world that is rich as Deakins’ work is truly phenomenal. Production designer Dennis Gassner, along with set decorator Nancy Haigh and art directors Richard C. Goldstein and Leslie McDonald, do fantastic work with the set pieces created as it includes the hotel that Fink and Meadows were staying in to the lavish homes and places that Fink embarks in as he explores Hollywood.

Costume designer Richard Hornung does a fantastic job with the suits and hats many of the men wear from the 1940s including the more calm yet stylish dresses that Audrey wears. Sound editor Skip Lievsay does a superb job with the sound work from some of the intimate exterior conversation scenes to the sound of Meadow‘s screams that is heard throughout the hotel early in the film. The film’s score by Carter Burwell is magnificent for its array of orchestral scores played in the film ranging from sprawling to more delicate arrangements to play with the differing moods of the film as the soundtrack also includes some pre-World War II music of the time.

The casting by Donna Isaacson and John S. Lyons is amazing for the ensemble that is created for the film. Among those making appearances is the Coen Brothers’ former cinematographer Barry Sonnenfeld as a page boy and Frances McDormand in a voice cameo as a stage actress. Notable small roles include David Warrilow as Barton’s sell-out spouting friend Garland Stanford, Richard Portnow and Christopher Murney as two intimidating detectives, Jon Polito as Lipnick’s supportive assistant Lou Breeze, and Steve Buscemi in a funny performance as the bellhop Chet. John Mahoney is excellent as the William Faulkner-based writer W.P. Mayhew while Tony Shalhoub is superb as the fast-talking and insult-spouting Ben Geisler.

Judy Davis is very good as Mayhew secretary/lover Audrey who reveals to Barton some harsh truths about Mayhew while becoming the one ally he has in the world of writing. Michael Lerner is brilliant as studio head Jack Lipnick who tries to champion Fink while getting him to write the movie as it’s a very charismatic performance for Lerner. John Goodman is terrific as the brash yet helpful Charlie Meadow who befriends Fink and helps him deal with stuff while proving to be a very loyal and tough friend. Finally, there’s John Turturro in an outstanding performance as the titular character. Sporting a weird hairdo, Turturro brings a real sense of humility and passion to a man being compromised as a writer while struggling to find a voice in the work he’s making as he has to endure all of these strange forces. Notably as he is a man lost in a world that tries to make him conform so he can be like everyone else as it’s definitely the best performance Turturro gave in his career.

Barton Fink is a triumphant and mesmerizing film from the Coen Brothers featuring a tour-de-force performance from John Turturro. The film is definitely one of the Coen Brothers’ top films of their career as it’s funny, thrilling, and dramatic. Along with a great ensemble cast and top-of-the-line technical work, it’s a film that truly explores the mind of a writer as well as exploring the theme of compromises and ambition. In the end, Barton Fink is a dazzling yet glorious film from Joel & Ethan Coen.

Coen Brothers Reviews: Blood Simple - Raising Arizona - Miller's Crossing - The Hudsucker Proxy - Fargo - The Big Lebowski - O Brother, Where Art Thou? - The Man Who Wasn’t There - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T’aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs#9: The Coen Brothers Pt. 2

© thevoid99 2012