The Man Who Wasn't There (2001 film)

Originally Written and Posted at Epinions.com on 9/13/03 w/ Additional Edits & Revisions.

Written, produced, and directed by Joel & Ethan Coen, The Man Who Wasn't There is about a quiet, rigid barber who suspects his wife of having an affair with her boss. When he gets into a scam-deal, he blackmails his wife's lover and it backfires as he accidentally kills him. The film harkens back to the Coen Brothers' love for film noir dating back to their 1984 debut film Blood Simple while setting it on post-war 1940s in Northern California. Starring Billy Bob Thornton, Frances McDormand, James Gandolfini, Jon Polito, Michael Badalucco, Richard Jenkins, Scarlett Johansson, and Tony Shalhoub. The Man Who Wasn't There is a gorgeous yet eerie film from the Coen Brothers.

Ed Crane (Billy Bob Thornton) is a quiet barber who works at a barbershop owned and managed by his talkative brother-in-law Frank (Michael Badalucco) as Ed is married to Frank's sister Doris (Frances McDormand) who works at a department store run by a big-shot named Big Dave (James Gandolfini). During a dinner with Doris, Big Dave, and Dave's wife/store heiress Ann Nirdlinger (Katherine Borowitz), Ed suspects that Doris is having an affair with Dave as he prefers to keep it to himself. When a traveling businessman from Sacramento named Creighton Tolliver (Jon Polito) arrives into town about a business proposal involving dry cleaning, Ed becomes interested and wants to be involved as a silent partner. To get the money, Ed decides to blackmail Dave at a store party only to deal with a tense Dave who is having other issues.

Despite pondering over what he's doing, Ed gets the money in secrecy as he gives it to Tolliver hoping things would go well. After returning home from a wedding reception for Doris' cousin as Doris got drunk, Ed gets a call from Dave who asks him to come to the store. Dave reveals what he found out as a fight led to bad consequences as Ed returns home thinking nothing happened until the next day when Doris was arrested for Dave's murder. With Ed and Frank searching for a lawyer, Ed turns to his neighbor Walter Abundas (Richard Jenkins) whose teenage daughter Birdy (Scarlett Johansson) has wowed Ed with her classical piano playing. After Walter suggests in getting hot-shot lawyer Freddy Riedenschneider (Tony Shalhoub) to defend Doris despite his hefty price tag. Ed's guilt starts to consume him as he confesses to Doris and Riedenschneider about what happened only for Riedenschneider to dismiss Ed's claim.

Following a strange visit from Ann Nirdlinger who claims that UFOs has taken Dave, Ed tries to deal with all that's happened as he finds comfort in Birdy's piano playing. On the day of Doris' trial, something happens leaving Ed ruined as he discovers some startling secrets from a private detective (Jack MeGee). Wanting to find redemption, Ed decides to invest in Birdy's future as a pianist as he gets her to audition for a music expert named Carcanogues (Adam Alexi-Malle) where its aftermath brings Ed some surprising revelations over everything that he's been through.

What makes The Man Who Wasn't There such a different film from previous efforts was the restraint the film took. While there's bits of humor involving UFOs and a strange fantasy sequence near the end of the film. It adds to some of the offbeat quirks needed to provide the character of Ed Crane a sense of surrealism that he's dealing with in the aftermath of what he's done. The directing of the film is as evocative than any other films with imaginative, subtle images that really gives the film a 1940s look. Even with shots where everything is stilted and all of these symbols come into a room. The Coen Brothers' writing is as potent as ever with not just clever, witty dialogue but extremely moving moments while their narrative flows in a smooth, comforting way. The overall work is an entrancing yet meditative piece from the Coen Brothers.

Complementing the directing style in the cinematography department is longtime regular Roger Deakins. Deakins' masterfully, lush black-and-white photography gives the film a noir-like feel that hadn't been felt since the Coens' 1985 debut Blood Simple. With help from production designer Dennis Gassner and costume designer Mary Zophres, the film captures the look of late 1940s with the right detail and tone that helps Deakins' photography shine.

The editing of Roderick Jaynes (the alias of the Coen Bros.) is wonderfully paced in its slow but mesmerizing style that helps to convey the genre. With the piano sonnets of Beethoven played throughout the film, longtime Coen Brothers composer Carter Burwell brings a dark, eerie score with his lush orchestral arrangements to capture the noir, restrained tone of the movie.

Then there's the film rich cast with wonderful cameos from Christopher McDonald and The Hudsucker Proxy star Jennifer Jason Leigh, in an un-credited cameo that plays up to the film's quirks. Smaller performances from Adam Alexi-Malle as Carcanogues and Richard Jenkins as Walter Abundas are wonderfully performed while Katherine Borowitz give a haunting performance as Big Dave's wife Ann. Scarlett Johansson delivers an amazing yet entrancing performance as Birdy Abundas. Johansson brings a complexity to her role as the innocent, bright Birdy who has purity to Ed Crane but also has a haunting presence with her piano playing that has a dark element to the film. Coens regular Michael Badalucco brings a comical performance as Frank, who seems to know everything but is really a childlike character. Tony Shalhoub is the film's best supporting performance as the fast-talking Freddy Riedenschneider with his over-the-top persona and egomaniacal tone.

Coen regular Jon Polito also brings a comical presence to the film as Creighton Tolliver while James Gandolfini brings a wonderful performance as Big Dave with his big-man persona and complex emotions when he's threatened before going to his mean, Tony Soprano mode. Longtime Coens regular (and Joel's wife) Frances McDormand delivers another masterful performance as Ed's wife Doris. McDormand brings a role as the cheating wife who is in an unhappy lifestyle but when she realizes what Ed has done for, McDormand makes her character be filled with regret and sadness as she also combines comedic elements early on. Billy Bob Thornton is the film's greatest performance as the chain-smoking Ed Crane with his restrained, quiet performance of a man who is trying to find a way out of his dismal life. Thornton gives an understated tone while having wonderful scenes with all the actors, notably Gandolfini, McDormand, Johansson, and Shalhoub. This is by far one of Thornton's best performances.

***Updated, DVD Tidbits on 9/20/04***

The film’s regional 1 DVD comes in two formats with many preferring the wide screen format. With 5.1 Digital Surround Sound for English and French plus French and Spanish subtitles, the film has loads of features. With a theatrical trailer and two TV spots, the film also includes a lovely photo gallery and a filmography of several of the film's cast and crew.

The making of feature includes interviews with Thornton, McDormand, Gandolfini, Badalucco, and Shalhoub along with the Coen Brothers and cinematographer Roger Deakins, who all give insight on what the film is about along with a few outtakes. The five deleted scenes don't add a lot to the film except three styles of haircuts and Doris' idea of a salad along with an alternate first argument scene of the courtroom with Tony Shalhoub in top form.

The film also includes two great features for fans of the Coen Brothers. One is a near-hour interview with cinematographer Roger Deakins, who had worked with Coens since 1991's Barton Fink. Deakins gives insight on the art of cinematography along with his influences and how The Man Who Wasn't There came together. While it's long, the interview is a must-see for fans and aspiring filmmakers, notably cinematographers.

The other big feature is a feature-length audio commentary from the Coen Brothers and Billy Bob Thornton, which is by far one of the funniest commentaries heard on DVD. The trio talk a lot of things in the movies including references of a story Gandolfini are telling which is true based on the life of former Coen Brothers cinematographer Barry Sonnenfeld's father. Plus, Thornton makes fun of his Sling Blade persona where he goes "Ed Crane does..." "Ed Crane kills Big Dave and talks to wife again"; "Ed Crane has a boner". Thornton also gives praises to a lot of the crew and cast, notably Scarlett Johansson who he calls "a tough kid" and the Coens admit, they find her intimidating, especially in a scene where she was supposed to eat sunflower seeds and Joel says, she looked at him as if he did something idiotic where Thornton calls her one of the best actresses around.

While the Region 1 DVD has some great moments, there is something that the Coen Brothers fans must have which is the Region 2 DVD. The Region 2 DVD has a colored-version of the movie that looks like a somewhat-bad colorization of black-and-white films but the Coens gave it some lush coloring to make it look plausible.

***End of DVD Review***

The Man Who Wasn't There is a ravishing yet dark film from Joel & Ethan Coen led by a chilling performance from Billy Bob Thornton. Featuring amazing technical work and an outstanding ensemble cast that includes Frances McDormand, James Gandolfini, Scarlett Johansson, Richard Jenkins, Michael Badalucco, Jon Polito, and Tony Shalhoub. It's a film that isn't conventional due to its unique approach to film noir while it is a film that does manage to make more sense through repeated viewings. In the end, The Man Who Wasn't There is a mesmerizing film from the Coen Brothers.

Coen Brothers Films: Blood Simple - Raising Arizona - Miller's Crossing - Barton Fink - The Hudsucker Proxy - Fargo - The Big Lebowski - O Brother, Where Art Thou? - 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

Miller's Crossing

Originally Written and Posted at Epinions.com on 11/15/07 w/ Additional Edits.

Written, produced, and directed by Joel & Ethan Coen, Miller's Crossing is set in the Prohibition era as a gangster is playing both sides in a gang war as his role becomes confusing while he is dealing with one of his boss' girlfriend, her brother, a deadly henchman, and many more as a bloody gang war is happening. A change of pace from the duo's previous features, 1984's noir-inspired Blood Simple and Raising Arizona, the film is an eerie study of how one man can play both sides in a gang war. Starring Gabriel Byrne, Albert Finney, Marcia Gay Harden, J.E. Freeman, and appearances from Coen Brothers regulars John Turturro, Steve Buscemi, Jon Polito, Michael Badalucco, and Frances McDormand. Miller's Crossing is a powerful, eerie crime masterpiece from the Coen Brothers.

A dispute between mob boss Johnny Capar (Jon Polito) and Irish politician Leo O'Bannon (Albert Finney) over an upcoming fixed fight is settle until Caspar accuses one of Leo's men named Bernie Bernbaum (John Tuturro) of theft. With Leo's right-hand man Tom Reagan (Gabriel Byrne) and Caspar's henchman Eddie Dane (J.E. Freeman) looking on, the meetings with no resolution as Tom is having an affair with Leo's mistress Verna (Marcia Gay Harden) whose brother is Bernie. Still, Leo is concerned about Verna as he has tailed by a man named Rug (Salvatore H. Tornabene) as Tom tries to find Bernie as he asks Mink Larouie (Steve Buscemi) who reveals about a deal he made with Bernie about Caspar's fight fix. Realizing that Bernie is causing trouble, Tom tries to take charge but Leo wants the whole thing to die down to avoid a gang war.

Bernie visits Tom's place as he learns about Tom's money problems with a man named Lazarre as things become complicated where Tom tries to smooth things over for Caspar who wants Bernie. Tom refuses as he gets himself in trouble as a hit on O'Bannon's home fails leading Tom to be out of O'Bannon's gang as his relationship with Verna suffers. Tom decides to work for Caspar as he reveals Bernie's deal with Mink as Tom is ordered to kill Bernie with a couple of Caspar's men in Tic-Tac (Al Mancini) and Frankie (Mike Starr) watching. In the area of deep woods known as Miller's Crossing, Tom is chosen to kill Bernie as Tom makes a plan to spare him once he knows what Caspar is doing. Mink become a target as a war between Caspar and O'Bannon ensues while Tom reveals to Verna that Bernie is alive. Tom continues to play angles as he targets Dane in order to win over Caspar while he hopes to make peace with O'Bannon as he would make moves that would change everything.

Inspired by the works of Dashiell Hammett, the Coen Brothers create a gangster film that isn't reminiscent of the style of 1940s gangster films but also give an edge that is predominantly violent and complex. The real story of this film is about a double-agent who plays the right angles in order to get what he needs and what is right for him and whom he's loyal to. While the character of Tom Reagan is one filled with complex morals and ideas, he's also a man that is very stoic and do things in how to move forward. He's often said he's a smart kid throughout the entire film in how he plays his angles. Yet, it also makes him somewhat distant emotionally as a character like Verna wonders if he has a heart at all and is he a good person. It's that study in character that makes this film more than just a simple gangster picture but a real complex character-driven film that is in the tradition of film noir.

The dialogue in the film is very stylized with a language that is reminiscent of Hammett's work. It's very fast, it's very talky, and sometimes, hard to follow because of the language. Yet, with repeated viewings and maybe through subtitles, it becomes easier to understand. This is definitely an homage to the Hammett language that is never over-dramatized or undervalued. It's the dialogue and the Coens' script that works to show the complex morality of war and power through the mind and angles of Tom Reagan. The script is indeed top-notch with a wonderful structure and sequences that is true to the genre and adding new motifs to it.

Then there's the direction bythe Coen Brothers that is solid through and through. The film opens with a meeting between Caspar and O'Bannon before the opening credits even starts. It emphasizes the tone of what is to come while a lot of the acting is almost theatrical with its dialogue. There's a bit of humor in some of the scenes while some of the more violence sequences are done with great style. Notably one amazing scene that involved the song Danny Boy and Caspar's men trying to hit O'Bannon that ends up a bloodbath with O'Bannon looking like a badass with a tommy gun.

The location set in Louisiana, works for the film's tone where the's not many colors as everything is a bit tinted and gray as is the forest of Miller's Crossing. There's even some amazing compositions where Tom Reagan is standing in the middle of the forest and then a dissolve cut where Tic-Tac and Frankie are standing in the same position that Reagan was in except on the road and leaning against the car. The result is clearly some of the finest directing ever captured on cinema.

Cinematographer Barry Sonnenfeld, in his last work for the Coens before becoming a director, creates probably his best work for the Coens following his previous contributions in Blood Simple and Raising Arizona. Sonnenfeld uses some wonderful speed close-ups to capture some of the horror while a lot of interior work with the bright lighting in the Shenandoah to the more intimate, shadowy scenes in Reagan's apartment. The exteriors, notably the Miller's Crossing scene, is beautifully shot that includes wonderful overhead shots of the trees to emphasize its eerie tone with Sonnenfeld bringing out some amazing work. Though Sonnenfeld's work as a director is often spotty, his contributions as a cinematographer should be noted despite being overshadowed by his replacement Roger Deakins.

Editor Michael R. Miller does some fascinating work with the use of fade-outs, dissolves, and other cutting styles to emphasize the old-school, 1940s editing style that is fitting to the genre while using some jump-cuts to bring energy to the film. Longtime production designer Dennis Gassner and art director Leslie McDonald does some great work in recreating the look of Prohibition speakeasies, clubs, and other places that are filled with wonderful color, floor design, and the use of old cars to bring authenticity to the period. Costume designer Richard Hornung does some great work with Marcia Gay Harden's clothes along with the suits and hats of the men that is very true to the period. Longtime sound editor Skip Lievsay does some amazing work in the sound to bring tension and suspense to some of the film's violent sequences as well as the Miller's Crossing scene.

Longtime music composer Carter Burwell brings a traditional, Irish-flavored score filled with its serene melodies with its orchestral-driven score that includes some harrowing themes. Burwell's score helps with the suspense and drama of the film that includes a soundtrack of old jazz music including the traditional classic Danny Boy in one of the film's best scenes.

The casting of the film is brilliant as it includes small but memorable appearances from Michael Jeter, Salvatore H. Tornabene, Lanny Flaherty, and Mario Todisco as a boxer named Drop. Other memorable appearances from Richard Woods as the mayor, Thomas Toner as the police chief, Al Mancini and Mike Starr as Caspar's henchmen are great while cameos/appearances from Coen Brothers associates like Frances McDormand as the mayor's secretary, Michael Badalucco as Caspar's drive, Steve Buscemi as Mink, and film director Sam Raimi as a doomed gunman are fun to watch. J.E. Freeman is great in the role of Eddie Dane, a ruthless henchman who is almost Reagan's equal while being more dangerous and cunning in his role as a henchman. Jon Polito is brilliant as the fast-talking, comical Johnny Caspar who is dangerous but full of humor as Polito brings a lot of charm to a very dangerous character.

In one of her early film appearances, Marcia Gay Harden is superb as Verna Bernbaum. In a role that could've been a typical femme fatale, Harden brings a lot of grit and beauty to the character while proving that she is tough. Harden's performance is definitely brilliant as she proves to be one of the Coen Brothers finest heroines that includes the great Marge Gunderson of Fargo. John Turturro is also brilliant as the smarmy, cowardly Bernie who proves that he can outwit many when the angles are played, even outsmarting Reagan. Yet, when he's in a position that he can't get out of, he acts like a total coward. It's a great performance from Turturro in his first of many films he appeared for the Coen Brothers.

Albert Finney is also great in his role as Leo O'Bannon, a boss who has his flaws. While he admits he isn't the smartest guy in the world but knows when he has to do power-plays and such while getting the chance to prove that he's a badass. Finney's greatest moment involves a tommy gun and it proves that he's the last guy you want to try to pull a hit on. Gabriel Byrne is amazing in his role as the stoic, emotionless Tom Reagan. Byrne, who always has some kind of charm and personality is more reserved in a performance that is truly minimalist. In a role that is traditional with most of Hammett's protagonists, he's a guy that has to be smarter than everyone, try to do what is right for him. Byrne is brilliant for his restraint and not being very emotional as it's truly one of his greatest performances.

Miller's Crossing is truly a powerful, eerie, and violent masterpiece from Joel and Ethan Coen with fantastic performances from Gabriel Byrne, Albert Finney, Marcia Gay Harden, and John Turturro. This film is no doubt one of the best films by the Coens along with one of the best gangster films to come out of the 1990s. Fans of film noir and crime films will no doubt enjoy the Coen Brothers take as it prove to be fun to watch and also as an eerie character study. While others might prefer their 1996 crime film Fargo which is superior in some aspects, Miller's Crossing is still an amazing film to watch from the Coen Brothers.

The Coen Brothers Films: Blood Simple - Raising Arizona - Barton Fink - 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 - 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

(C) thevoid99 2012

O Brother, Where Art Thou?

Originally Written and Posted at Epinions.com on 9/14/08 w/ Additional Edits & Revisions.

Written, produced, and directed by Joel and Ethan Coen, O Brother, Where Art Thou? is a loose re-telling of Homer's The Odyssey set during the Great Depression in Mississippi where three dim-witted convicts try to find lost treasure as they get into strange encounters with a trio of sirens, a KKK member, and other places while becoming hit musicians in the process. With an all-star cast that includes Coen Brother regulars Holly Hunter, Charles Durning, Michael Badalucco, John Goodman, and John Turturro along with two future regulars in George Clooney and Stephen Root. Also starring Tim Blake Nelson, Ray McKinnon, Chris Thomas King, Lee Weaver, Wayne Duvall, and Daniel von Bargen. O Brother, Where Art Thou? is a whimsical musical-comedy from the Coen Brothers.

Ulysses Everett McGill (George Clooney), Pete Hogwallop (John Tuturro), and Delmar O'Donnell (Tim Blake Nelson) have just escaped the chain gang as they go on the run where they meet a blind seer (Lee Weaver) who would reveal their destiny as they seek lost treasure in a soon-to-be flooded valley. With only four days to find it, the men stop at the farm of Pete's cousin Wash where they're betrayed to the authorities led by Sheriff Cooley (Daniel von Bargen). Thanks to Wash's son, they escape as they later encounter a baptism and meet a young black musician named Tommy (Chris Thomas King) who claims to have sold his soul to the devil to become great. In need of money, the three convicts and Tommy stop at a radio station owned by the blind Mr. Lund (Stephen Root) who records their song Man of Constant Sorrow as they become the Soggy Bottom Boys and with a hit song.

Evading Cooley, Ulysses, Pete, and Delmar encounter bank robber George "Baby Face" Nelson (Michael Badalucco) at a robbery as they help Nelson find salvation while gaining his robbery money in return. The journey gets stranger as they trio encounters a trio of beautiful sirens where Ulysses and Delmar awaken from their encounter with Pete missing as Delmar is convinced he's become a toad. A meeting with a one-eyed Bible salesman named Big Dan Teague (John Goodman) turns bad as Ulysses learns about an upcoming election between governor Pappy O'Daniel (Charles Durning) against reform candidate Homer Stokes (Wayne Duvall). Arriving at town, Ulysses also learns that his wife Penny (Holly Hunter) has divorced him and is engaged to Stokes' campaign manager Vernon T. Waltrip (Ray McKinnon) whom he tries to fight against. Learning that Pete is alive and captured by the authorities, Ulysses and Delmar bust him out as they fight about the whereabouts of the treasure.

Running into a Ku Klux Klan meeting where Tommy is about to be hanged, they discover who the leader is as well who is associated with the Klan. After saving Tommy, Ulysses decides to make a chance to win back Penny as he, Pete, Delmar, and Tommy disguise themselves as the Soggy Bottom Boys. Playing their hit song and winning over Governor O'Daniel, the outlook for the men is great as they get closer to the treasure where they would encounter Cooley leading to a fateful intervention for all involved.

What makes this film a unique adaptation isn't its setting but how the Coen Brothers manage to put a lot of references in relation to Homer's epic tale. At the same time, the Coen Brothers create a story that audiences who know of Homer's story can follow through as it's one of their most accessible and entertaining features. The script is filled with stylized dialogue that is in relation to the times as is the music that is an important part of the film. The music helps tell the story and setting as it's all enriched in the roots of American music.

The direction of the Coen Brothers is truly unique as Joel and Ethan Coen create a vision and compositions that are unique to the story. While a lot of the humor is based on slapstick, it's timing and take on simpletons aren't insulting but rather props as it's clear that the Coen Brothers aren't really making fun of them. Yet, put these not-so-bright men in situations and see how it will unfold. Yet, their presentation of each scene and situation is done with such style and energy. It's clear that the Coen Brothers are creating a vision that is true with the times as if it was a time machine while adding a sense of humor and style in the mix. The result is the Coen Brothers being at their finest.

The Coen Brothers' longtime cinematographer Roger Deakins creates superb work to the film and its compositions. With its use of yellowish, sepia-awash colors to create a dream-like style to some of the film's exterior settings. Deakins' emphasis on a depth of field is gorgeous to watch as his daytime exterior work is gorgeous while in the nighttime, there are shades of blues and other colors that are rich. Deakins' work is definitely amazing and true to the style of the Coen Brothers. The Coen Brothers in their Roderick Jaynes alias along with Ethan Coen's wife Tricia Cooke do great work in the film's editing. The rhythmic pacing works with its leisurely with its sense of style with jump-cuts, wipes, and other transitional cuts in dissolves show the Jaynes and Cooke's unique approach to the editing. Especially when it comes from composition to another that moves with such ease.

Longtime production designer Dennis Gassner with set decorator Nancy Haigh and art director Richard L. Johnson create amazing period sets with its decaying farms, landscapes, and other locations. Notably in the scenes that included old props like 1930s microphones and other 1930s objects as Gassner and his team do superb job. Costume designer Mary Zophres, another regular Coen Brothers collaborator, does an amazing job with the film's period costumes that is in tune with Deakins' cinematography of light colors and dresses that Holly Hunter wears to the suits that most of the actors with the exception of its main actors. Visual effects supervisor Erik Nash creates some great visual work in some of the film's visual effects scene that includes a river and a train scene. Longtime Coen Brothers sound editor Skip Lievsay along with sound designer Eugene Gearty do great work in the film's sound to capture the atmosphere of the times as well as the action and hijinks that goes on.

Longtime collaborator Carter Burwell contributes minor music pieces to the film as much of the film's score and soundtrack is supervised by T-Bone Burnett. The film's soundtrack is rich with roots-based American music like bluegrass and country with contributions from artists like James Carter, Alison Krauss, Emmylou Harris, Gillian Welch, and Harry McClintock. The album is one of those few Grammy-award winning albums that deserve its prize as it's filled with a lot of rich music and songs that are memorable that is true to Americana.

The casting by Ellen Chenoweth is superb with small but memorable performances from Georgia Rae Rainer, Marianna Breland, Lindsey Miller, and Natalie Shedd as Ulysses' daughters, Frank Hollison as Wash Hogswollop, Quinn Gasaway as Wash's son, Gillian Welch as a record buyer, and as the sirens, Christy Taylor, Musetta Vander, and Mia Tate. J. R. Horne and Brian Reddy are great as Pappy O' Daniel's campaign managers who aren't very bright while Del Pentecost is also funny as Pappy's dim-witted son. Ed Gale is great as Homer Stokes' little man who is voiced by Jennifer Jason Leigh. Lee Weaver is great as the blind seer who represents the character of Tiseras, the blind seer in The Odyssey. Stephen Root is excellent as the blind radio station manager Mr. Lund with his comments on the Soggy Bottom Boys while Michael Badalucco is also excellent as George Nelson, a manic-depressive bank robber.

Ray McKinnon is good as Vernon T. Waltrip, a man who threatens Ulysses' role as the pater familias while having some funny moments in his fight scene with Clooney. Wayne Duvall is great as reform candidate Homer Stokes who is very comical and carries a great presence while revealing a dark side into his character. Daniel von Bargen is brilliant as Sheriff Cooley, a man with dark sunglasses and a hound dog that proves to be very menacing as he carries a huge presence. Chris Thomas King, a real-life musician who also contributes to the soundtrack, is great as Tommy whose character is based on blues legend Robert Johnson. Charles Durning is amazing as Pappy O'Daniel with his crusty, frustrated attitude while in the Soggy Bottom Boys performance scene, he lets loose as the famed actor has some great scene-stealing moments. John Goodman is great in his usual role for the Coen Brothers as a Bible-selling, mugging man who is very vicious while his character is based on Cyclops from The Odyssey. Holly Hunter is excellent as Penny, a character based on Penelope of The Odyssey, as a woman disappointed in Ulysses and is trying to raise her family as Hunter is funny in her role.

Tim Blake Nelson is brilliant as the dim-witted yet simple-minded Delmar O'Donnell as he's the less intelligent of the three convicts. Nelson's performance is filled with lots of innocence and charm as Nelson provides a great balance between Clooney and Turturro. John Turturro is brilliant as Pete, a brutish man with dreams to run his own restaurant as he's the guy often arguing with Ulysses as Turturro brings a wonderful, funny performance to his character. Finally, there's George Clooney is a hilarious role as Ulysses. A man with lots of ideals and comments while demanding that he needs Dapper Dan hair gel as Clooney provides great comedic time and commentary as it's one of the actor's finest performances.

O Brother, Where Art Thou? is a wonderfully funny, entertaining, and gorgeous musical-comedy from the Coen Brothers. With a great cast, great look, and an amazing soundtrack, it's one of the Coen Brothers finest and most accessible films to date. Fans of the filmmaking duo will no doubt see this as one of their finest work. While it may not reach the hilarity heights of films like Raising Arizona and The Big Lebowski, the film does stand out on its own while it's famed soundtrack is one of the decade's finest. In the end, for a good time with American roots music, Dapper Dan hair gel, and telling people that you're the pater familias, you're goddamned bona fide! O Brother, Where Art Thou? is the film to go see that's worth watching over and over again.

Coen Brothers Films: Blood Simple - Raising Arizona - Miller's Crossing - Barton Fink - The Hudsucker Proxy - Fargo - The Big Lebowski - 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

(C) thevoid99 2012

Summer of Sam

Originally Written and Posted at Epinions.com on 2/3/07.

The summer of 1977 in New York City was definitely the hottest and chaotic summers the city has known for. It was a year the New York Yankees were being led by Reggie Jackson. The year were a black-out ensued leading to riots in the poorer parts of the city. Meanwhile further downtown in Manhattan, two clubs were re-defining pop culture. There was the chic, glamorous world of Studio 54 with its disco music, anything goes behavior, and debauchery that was exclusive to those who wanted to be part of the in-crowd. The other club was down in the Bowery at CBGB's were it was the epic-center of the punk rock movement where it was the antithesis of everything Studio 54 stood for. That summer was also known for something far darker as many people were scared to go outside because of a serial killer named the Son of Sam who shoot people at night and sometimes, in their car. Fortunately, the Son of Sam whose real identity was David Berkowitz was captured. In 1999, Spike Lee directed a film chronicling that troubling summer for his film Summer of Sam.

Written by Spike Lee with Victor Colicchio, and The Sopranos' Michael Imperioli, Summer of Sam tells the story of an Italian neighborhood in the Bronx in danger of the killer known as the Son of Sam. Revolving around a womanizing hairdresser and his punk-rock loving friend, everyone in the neighborhood tries to find out who the killer is while dealing with the hot summer, blackouts, and the Yankees trying to win another season. Starring John Leguizamo, Adrien Brody, Mira Sorvino, Jennifer Esposito, Michael Rispoli, Brian Tarantina, Ben Gazzara, Arthur J. Nascarella, Anthony LaPaglia, Roger Guenveur Smith, Patti Lupone, Mike Starr, Bebe Neuwirth, Jimmy Breslin, with Michael Badalucco, and the voice of Lee regular John Turturro. Summer of Sam is an excellent, stylish portrait of the dark summer of 1977.

It's 1977 in the Bronx at a disco where Vinny (John Leguizamo) and his wife Dionna (Mira Sorvino) are hanging out a disco with their friends including bartender Joey T. (Michael Rispoli). When Dionna's Italian cousin Chiara (Lucia Grillo) wants to go home, Vinny was asked to take her home. Vinny and Chiara have sex in a car where another car was behind them. Returning to the disco, Vinny thinks nothing is going wrong until on his way home, he sees the same car he saw earlier where a couple was dead with gunshot wounds. Vinny realized that the Son of Sam might've seen him. Filled with guilt and paranoia, Vinny turns to Joey T. and the rest of their Italian buddies Brian (Ken Garito) and Anthony (Al Palagonia) are hanging out in their spot. Arriving onto their spot with a new look is Vinny's old childhood friend Richie (Adrien Brody) sporting a punk-rock look that's freaked out the rest of the gang. Brian's half-sister Ruby (Jennifer Esposito) notices Richie's new look which brings her some new excitement.

It's been a year that the Son of Sam has been killing people as Detective Lou Petrocelli (Anthony LaPaglia) and his partner Curt Atwater (Roger Guenveur Smith) turn to local mob organizer Luigi (Ben Gazzara) for help into catching the killer. Luigi, at first, doesn't but because of the letter Lou found, he decides to help out. Vinny meanwhile, wants to do right by not having affairs though he still has a fling with salon boss Gloria (Bebe Neuwirth). After getting kicked out in his mother's home and forced to live in the garage, Richie gets some surprising support from Ruby, who wants to ditch her disco look for the new punk look. Especially since she knows the Son of Sam is going after women with brunette hair. Dionna begins to wonder on how to satisfy Vinny sexually thinking he's cheating on her. Vinny professes his love to her while becoming paranoid over the Son of Sam. With Ruby's help, Richie gets a job dancing in gay clubs run by Midnite (Michael Imperioli) and doing porno films as the two hope to start a punk band.

Things only get worse as a heat wave arrives on New York City causing blackouts as a riot ensued in Harlem where John Jeffries (Spike Lee) is reporting on the riots while Luigi believes that the Son of Sam is trying to attack on that night during the blackout. Fortunately, he didn't while Joey T. with Brian, Anthony, and Woodstock (Saverio Guerra) make a list of suspects where Woodstock claims the killer is Reggie Jackson. During a night out in which, Dionna wears a blond wig, she and Vinny stop to see the club CBGB's at the Bowery which disgusts both of them because Ruby and Richie are there. Instead, they go to Studio 54 hoping to get in where they meet a photographer named Simon (John Savage) where they take part in an orgy that causes some repercussions.

Richie's appearance in the neighborhood including diners have made the locals uncomfortable. Though Ruby, his mother (Patti Lupone), and stepfather (Mike Starr) disagree, the neighborhood thinks Richie is a suspect where Joey T. thinks he's the Son of Sam. Especially after receiving a tip from their gay, transvestite friend Bobby (Brian Tarantina) who saw him at the gay club. With Vinny's life falling apart, he turns to drugs where he begins to think that his best friend could be the Son of Sam when really, a mailman named David Berkowitz (Michael Badalucco) is revealed to be the killer with .44 caliber pistol.

Spike Lee, like another New York director Martin Scorsese, knows full well of what it was like being in New York City in all of its different cultures and locations. Since he’s going back in time to 1977, Lee chooses to explore a different world than his typical world of African-American life in previous films. While there’s a few admitted stereotypes in the Italian-American characters that are known to be idiotic at times and maybe carried away. Lee and his writers do present some positive aspects of the characters since it's all about community and how they badly react to outsiders. More importantly, Lee and his writers do excellent work in creating the atmosphere of what it was like back in the summer of 1977 with brief insight into his own Bedford-Stuy neighborhood where a murder from the Son of Sam occurred.

While Lee's direction is filled with some great moments including the close-ups and moving platform shots that's a trademark of Lee. There's even some great scenery with a few music sequences as it plays well to the time. One sequence that is notable in all of its grittiness is the stuff involving David Berkowitz who claims he was ordered by a dog named Harvey (voiced by John Turturro). The film adds a bit of horror and black-humor while the scenes of murder are horrifying to watch, particularly a sequence with the voice of Yankees announcer Phil Rizzuto doing play-by-play as Berkowitz hits his target. The only thing that Lee and his writers don't get right is the punk rock scene and references. While the Who are considered to be one of the influences of punk, especially through the mind of Richie. In 1977, the Who were regarded as dinosaurs in the punk community. Plus, those in the punk rock scene didn't wear nose rings or had spiky hair at that time. That's the film's only real flaw was its inaccurate depiction to the punk rock movement since it's a place that not many people, including those in that scene, want to exploit.

Helping Lee in his visual presentation is cinematographer Ellen Kuras whose stylish, colorful camera work adds an arty feel to the film. Where most of the film's exterior, Bronx scenes are wonderfully colored; the sequences with Berkowitz, including a disco orgy scene, are shot with grainy camera work to play to the film's emotions and intensity. Kuras' lighting on some of the interior scenes and sequences are superb as she is truly one of the best cinematographers out there. Production designer Therese DePrez and art director Nicholas Lundy do great work in capturing the look of the disco scenes and clubs as well as the authentic look of Italian Bronx 1977. Costume designer Ruth E. Carter also does great work with the film's 70s clothing while the punk look was outrageous despite its inaccuracies. Editor Barry Alexander Brown does excellent work with the film's editing giving the film a sense of rhythm with its jump-cuts and perspective cuts where it adds to the style that Lee wants. Sound editor Ken Lee also does great work in bringing the tense atmosphere of the times with the layers of gunshots to create suspense.

Longtime Lee collaborator Terence Blanchard brings a wonderfully symphonic film score to play to the film's drama and the suspense towards the times. The film's soundtrack is filled with a large array of disco classics from ABBA, Thelma Houston, Marvin Gaye, the Emotions, Barry White, Chic and MFSB. Also included are cuts from the Who, Elvin Bishop, Elton John, Edith Piaf, Frank Sinatra, and a very appropriate cut from the Talking Heads.

The cast is wonderfully assembled with memorable small performances from Brian Tarantina, Ken Garito, Saverio Guerra, Al Palagonia, and Lucia Grillo despite the stereotypes they play. Other small roles from Mike Starr, Michael Imperioli John Savage, Patti Lupone, Bebe Neuwirth, and Arthur J. Nascarella as Dionna's father Luigi are better with Anthony LaPaglia and Roger Guenveur Smith as the cops bringing excellent support. Ben Gazzara is excellent and subdued as the wise mob boss Mario while the film also features some notable cameos from Spike Lee as a reporter, his sister Joie as a resident of Bedford-Stuy, Evander Holyfield as a person in the riots, John Turturro as the voice of a dog, and Jimmy Breslin who opens and closes the film with some narration on that dreadful summer. Michael Rispoli is excellent as the tough but cautious Joey T. despite the fact that he's an idiot at times while he's just wanting to do what's right though his intentions are wrong.

Though he's only in the film briefly and playing the role of the Son of Sam/David Berkowitz, Michael Badalucco does great work in bringing the insanity of Berkowitz while trying to hide his face and identity throughout the film. Jennifer Esposito is excellent as the lush, vibrant Ruby whose newfound sense of individuality brings energy to the film as she is one of the female character who try something new while having some great chemistry with Adrien Brody. Mira Sorvino is in excellent form as the scorned wife who wonders what she wants from her husband only to develop into a woman who realizes that she had done nothing wrong at all. Sorvino, who hasn't done a lot of great work since winning the Oscar for Woody Allen's Mighty Aphrodite, remains to be an underrated actress.

John Leguizamo is also in excellent form as the cheating, pill-popping, paranoid Vinny whose sense of morality is question as he becomes the most easily manipulated character in the film through his friends (except Richie) and his own penis. Finally, there's Adrien Brody in a fantastic role as Richie. The misunderstood punk kid who is trying to do his own thing despite what people think he is. Though his affiliation with punk is a bit mis-guided, Brody owns the role with his wit and charm while doing some cool dances at the gay club sequences.

Though Summer of Sam isn't a perfect film, it is still an excellent chronicle of that infamous summer by the always-brilliant Spike Lee. With an excellent cast led by Adrien Brody, John Leguizamo, Mira Sorvino, and Jennifer Esposito, it's a film that is part nostalgia, part suspense. While it's not one of Spike Lee's classic films, it's still notable for the fact that it's a change of pace from his study of African-American life as he reveals to be a humanist director despite some of his cynical views. In the end, Summer of Sam is an excellent portrait of the infamous summer of '77 from one of NYC's finest, Spike Lee.

Spike Lee Films: (She’s Gotta Have It) - (School Daze) - Do the Right Thing - Mo' Better Blues - Jungle Fever - (Malcolm X) - Crooklyn - (Clockers) - (Girl 6) - (Get on the Bus) - 4 Little Girls - (He Got Game) - Freak - (The Original Kings of Comedy) - (Bamboozled) - (A Huey P. Newton Story) - 25th Hour - (Jim Brown: All-American) - (She Hate Me) - (Inside Man) - (When the Levees Broke: A Requiem in Four Acts) - (Miracle at St. Anna) - (Kobe Doin’ Work) - (Passing Strange) - (If God is Willing and Da Creek Don’t Rise) - (Red Hook Summer) - Bad 25 - Mike Tyson: Undisputed Truth - (Oldboy (2013 film)) - (Da Blood of Jesus) - (Chi Raq) - Michael Jackson's Journey from Motown to Off the Wall - BlacKkKlansman - Da 5 Bloods - (American Utopia)

© thevoid99 2011