The Man Who Wasn't There
Jan. 12th, 2002 12:54 amA movie reaction until I get my media journal working again on me main website. (Reaction is not a review, but it is about as spoily as an average film review, so be careful.)
The Man who Wasn't There
The last Coen Brothers film I saw, "O Brother, Where Art Thou?" quickly collided into the ever-growing mash of tied-for-first movies in my list of of favorite films, and so I was happy to get a second chance to see this one on the big screen, courtesy of the Somerville Theatre, which does the second-run thing. (This also happened to be the first time I would enter that building at all. Dude, it's, like, an entire multiplex in there. The building seems so small from the outside.)
With this one, at some point I leaned over to my friend and said, "It's good to see the Coen brothers returning to their roots." The movie's basically "Fargo" translated through some Hofstadterian algorithm into film noir. Same plot hook, and same eventual outcome for the affected characters: a stunningly average man suddenly needs some fast money, and decides to dip his toe into naughtiness to get it, only to have it reach up and drag him and everyone close to him under the surface, as he rapidly loses control over what seemed like such a simple plan. Like "Fargo", "Wasn't" does a great job juggling gruesome cruelty and bizarre humor, and the whole thing's a delight to watch, with all the trappings of classic noir (here, let me offer you a cigarette, so you can go smoke it while mumbling mopily about the Japs while you stand under that ceiling fan that spins under a harsh bright lightsource) mixed with juuuust a touch of modern cheekiness (such as the unexpected introduction of a side-metaphor about the Roswell UFO crash). "Fargo" had its own celebrated atmosphere of joyously cartoonified Minnesotans, but it also brought a plateful of the most interesting and loveable good guys you'll ever find in any "true crime" story (yes, I know the story wasn't really true). "Wasn't" doesn't have that. Everyone's either despicable or naive, and Billy Bob Thornton's barber is a lot of both, maybe a little moreso of the latter, even though he also gets to narrate the story.
On the other hand, he's really complex, and part of his downfall is that the scheme he traps himself is even more complex. In one of the best scenes of the movie (and one of the most darkly humorous), he confesses what he's done to someone who, in a sane world, would be able to halt everything. But that's not the world the barber lives in. The machine rolls right over them all.
The main characters from "O Brother" seem pretty much the opposite to all this, in retrospect. They've all done their crimes against society years before the story opens, and they spend the length of story questing for atonement (though they're not necessarily wise enough know this). George Clooney's character is the only one who does anything remotely shady during the story's timeline, and consequently has to work to hardest to get back everything he's lost, but he takes the best road when he finds it. That film's a celebration of positivity. I suppose that the morality that rules the "Wasn't" world could be the same -- the main character here also decides to break free and go on a life-changing quest, but the goes about it exactly the wrong way, and pays a horrible price for it.
The Man who Wasn't There
The last Coen Brothers film I saw, "O Brother, Where Art Thou?" quickly collided into the ever-growing mash of tied-for-first movies in my list of of favorite films, and so I was happy to get a second chance to see this one on the big screen, courtesy of the Somerville Theatre, which does the second-run thing. (This also happened to be the first time I would enter that building at all. Dude, it's, like, an entire multiplex in there. The building seems so small from the outside.)
With this one, at some point I leaned over to my friend and said, "It's good to see the Coen brothers returning to their roots." The movie's basically "Fargo" translated through some Hofstadterian algorithm into film noir. Same plot hook, and same eventual outcome for the affected characters: a stunningly average man suddenly needs some fast money, and decides to dip his toe into naughtiness to get it, only to have it reach up and drag him and everyone close to him under the surface, as he rapidly loses control over what seemed like such a simple plan. Like "Fargo", "Wasn't" does a great job juggling gruesome cruelty and bizarre humor, and the whole thing's a delight to watch, with all the trappings of classic noir (here, let me offer you a cigarette, so you can go smoke it while mumbling mopily about the Japs while you stand under that ceiling fan that spins under a harsh bright lightsource) mixed with juuuust a touch of modern cheekiness (such as the unexpected introduction of a side-metaphor about the Roswell UFO crash). "Fargo" had its own celebrated atmosphere of joyously cartoonified Minnesotans, but it also brought a plateful of the most interesting and loveable good guys you'll ever find in any "true crime" story (yes, I know the story wasn't really true). "Wasn't" doesn't have that. Everyone's either despicable or naive, and Billy Bob Thornton's barber is a lot of both, maybe a little moreso of the latter, even though he also gets to narrate the story.
On the other hand, he's really complex, and part of his downfall is that the scheme he traps himself is even more complex. In one of the best scenes of the movie (and one of the most darkly humorous), he confesses what he's done to someone who, in a sane world, would be able to halt everything. But that's not the world the barber lives in. The machine rolls right over them all.
The main characters from "O Brother" seem pretty much the opposite to all this, in retrospect. They've all done their crimes against society years before the story opens, and they spend the length of story questing for atonement (though they're not necessarily wise enough know this). George Clooney's character is the only one who does anything remotely shady during the story's timeline, and consequently has to work to hardest to get back everything he's lost, but he takes the best road when he finds it. That film's a celebration of positivity. I suppose that the morality that rules the "Wasn't" world could be the same -- the main character here also decides to break free and go on a life-changing quest, but the goes about it exactly the wrong way, and pays a horrible price for it.