El hombre que nunca estuvo

I found this to be a pretty interesting film by the Coens'. I was well aware of the ability to do noir, as evidenced by 'Blood Simple', as well as many-layered, dialogue-driven narratives as in 'Miller's Crossing.' But what I found intriging about this movie was that it was about inconsequence. Billy Bob Thornton's character, Ed Crane, is similar to William H. Macy's in 'Fargo.' Both have unsatisfying positions in lowly lives. Both had received their jobs by "marrying" into them- Ed at the Barber Shop, and William's at the car dealership. The difference is, whereas the kidnapping plot is sought out in "Fargo", the blackmailing plot falls into Ed's lap by sheer choice (luck? fate?)

Ed's just a guy who wants to improve his lot in life- nothing too different then you or me. His wife's affair simply gives him the opportunity to do so. He didn't mind the infidelity, it is after all " a free country." But, of course, if she was faithful, there would be no noirish plot to pursue, correct? Quiet ambition drives Ed. After the dry-cleaning attempt goes sour, he sets his sights of Scarlett Johansenn's (who is quite remarkable) character's piano playing ability, in hopes of becoming her manager and "making enough to get by."

Thornton's "Ed Crane" really is the man who wasn't there. He sits- nearly brooding- quietly, observing life laconically. I actually found this movie quite sad. In the end, the only one who cares about his story is a men's magazine. And that's another big difference from 'Fargo" in which the pregnant Frances McDormand curls up with her husband, and you feel as if everything is just right in the world. That feeling is definitely lacking from "The Man Who Wasn't There."

Some viewers in the theater I saw it at said it was "the funniest movie they've seen all year." Sadly, I think they're missing it. Most of the humor is typical Coen's deadpan, but it is mostly generated from a tone of unease and tension. It's clever, but you waon't be slapping your knees like in "Raising Arizona" or "The Big Lewboski."

Instead, you'll just be intrigued by the wonderful story that the Coens- who have become quite the master of their craft- have weaved in this beautifully textured, perfectly cast, and incredibly nuanced film.

I get that the cinematography is wonderful and noirishly stylish, but the basics of the story just don't hold up.

A man commits a murder - actually it's self-defense - nobody sees him at the scene but his fingerprints are all over the murder weapon as he makes no attempt to hide what he did. He leaves the scene in a bit of a daze. He expects to be picked up in days if not hours after the crime, and then two officers show up at the barber shop where he works. But they appear only to tell him that it is his wife who has been picked up and charged with the crime.

He and his wife's brother mortgage their business to hire an expensive attorney. The expensive attorney says that it will be a challenge to save her from either life in prison or the chair. And yet, nobody saw her at the scene of the crime, her prints can't be on the murder weapon because her husband's prints are on it, and she was passed out drunk all evening at the house. The only thing they have is that she cooked the books at the store where she worked for the victim. Embezzlement? Yes Murder? No.

So the husband confesses in the presence of the wife and the attorney that he did it. But the attorney says nobody will believe him because of the lack of evidence. Yet there is a complete lack of evidence that his wife did it and yet THAT is an airtight case? I can't take this seriously. Maybe I'm not supposed to.

If this is supposed to be a stylish looking film with great cinematography and attention to detail on the Cold War era interiors and settings, then it succeeded. If it is the story of a man's bleak existence in which everything he tried to do to break out of that existence blew up in his face, well that succeeded too. I just think that the legal aspect of the story - which is a big part of the thing - is not the least bit credible.

I haven't seen too many films by the Coen brothers(Ethan and Joel Coen)... in fact, this and Intolerable Cruelty are the only ones I've seen. I decided to see this after hearing many positive things about it, and finding out that it's a tribute to the old 'noir' films of the 40's and 50's. I love noir films, and neo-noir films are often great as well. So I decided to see this film, and I'm am very happy that I did. The plot is great... something that we all can relate to, and yet very recognizable for noir... which is quite impressive, since many noir films suffer from the plot being of limited appeal(the P.I./detective who gets *the* case, etc.). The pacing is excellent. I wasn't bored for a second. The atmosphere of the film is great... very dark and moody, even in the humor. The acting is great... Thornton, McDormand, Gandolfini, Johansson, Shalhoub... everyone is great. Billy Bob Thornton's character is easy to relate to(who hasn't felt that their life wasn't going anywhere, at one point?) and his narration as well as flawless performance is part of what makes the film noir... his character talks very little, but the voice-over and his subtle acting(which includes very little dialog) is great and he carries the movie perfectly. The characters are all well-written... there was only a short period where I didn't entirely understand a characters actions, but this was more because I hadn't thought that much about this particular character than a lack of credibility, character-wise. The story is great... it has some very interesting twists, and it holds your interest and entertains you for the entire run-time of about 1 hour and 45 minutes. The humor is good, but there is fairly little of it in the film(considering that this is what the Coen's are well-known for... well, part of it, anyway) but all of it fits perfectly. Much of it is dark, like the rest of the film. I watched this on a DVD which I borrowed from the library, and when I was about to start the film, I noticed that there were two disks... one in black/white, and one in color. I thought for a while, considered which would be better, but then I remembered that this is a homage to noir films... and, possibly more importantly, the directors intention is to make something that looks as if it could have come from that period where those films were at the peak of popularity... and why would I want to go against the directors intention on a film? That would negate the very point of watching it. All in all, if you're a fan of the Coen brothers directorial style or neo-noir/film noir, you'll most likely love it as much as I did. If not, maybe you can just enjoy the great acting and atmosphere. And if not that, the film probably just isn't for you. I recommend it to any fan of the Coen brothers and of film noir/neo-noir. Fans of any of the actors might also like it. Just be prepared; it is quite dark, and many will not like it simply for that. If you believe you can sit through this film, you definitely should consider it. 8/10

Ed Crane is a barber who quietly wants more from his life. When he meets a man with a business proposition he decides to go for it. He suspects his wife is having an affair with her boss and anonymously blackmails him – however things in noir are never straightforward and blackmail leads to murder and a series of events are sparked off around Ed.

I must say I'm surprised this is as high up the imdb charts as it is, but I'm not surprised by the lukewarm reception it had from multiplex audiences. This is a slow, moody homage where things just happen, rather than a neat `start-middle-tidy finish-bad guy dies' type thing. The Cohen brothers have a reputation for the old quirks and here is no different – mixing the steady noir narration with talk of haircuts and bingo makes for a strange if humorous mix. The plot is good but the noir feel mixed with weird going-ons may alienate many audiences.

Thornton is a perfect choice – his features fit well in the black and white shadows and his voice suits the noir narration. McDormand is good and Gandolfini gets another good role and does well. The support is very good – Badalucco, Shalhoub, Polito are all very good. Some elements of it are like a spot the TV face – we have Benrubi from ER, Higgins from Ally McBeal and Abundas from Six Feet Under all in small roles. It's even nice to see a cameo from McDonald.

Overall this isn't as funny as it was billed, simply because it is a noir. As such the Cohens mix the familiar themes of that genre with all new subjects and create a great effect.

What a difference a good director makes! Billy Bob Thornton, who was sadly misused in Bandits, gets to recover himself in his brilliant characterization of Ed Crane in this film directed by Joel Coen. His performance is so detailed and subtle that he uses his face to great advantage in the close-ups while the narration goes on in the background. The use of black and white heightens the atmosphere of this 40s-style film noir. The brilliant cinematography is incredible in the use of shadows and dark tones that enhances the story to such an extent. Frances McDormand is incredible in the film as well. And what could one say about James Gandolfini? He gets better and better all the time. The atmosphere of the era is captured even in the small details. It's very refreshing to see the Coen brothers get over their last disaster of "State and Main" with such panache, aided of course by their star, Billy Bob Thornton and the ensemble cast and a great and ironic story.