Billy Bob Thornton’s Underrated Coen Brothers Film Is A Should-Watch

The Coen Brothers have probably the most extraordinary filmographies in film historical past. I do know that sounds hyperbolic, however I genuinely imply it. With the notable exception of their misguided remake of “The Ladykillers,” I firmly consider that all the motion pictures the brothers made collectively are both good or nice (I even like “Insupportable Cruelty,” a movie that usually will get lumped in with “The Ladykillers” as a Coens dud). This impressiveness has a curious impact: the Coens have so many bangers that a few of their motion pictures get misplaced within the shuffle, despite the fact that if these movies had come from one other director they’d be heralded as full-blown masterworks.

Take “The Man Who Wasn’t There,” as an illustration. This good 2001 neo-noir must be counted as considered one of the highest 5 Coen Brothers motion pictures, but it surely appears to have not one of the cultural influence of titles like “Fargo,” “The Huge Lebowski” (which went from field workplace bomb to bonafide cult basic), or “No Nation For Previous Males.” Possibly that is about to vary, although, because the high-quality people at Criterion have added “The Man Who Wasn’t There” to the gathering this month, with a wonderful new 4K switch supervised and authorised by legendary cinematographer Roger Deakins.

Darkly humorous and unapologetically bleak, “The Man Who Wasn’t There” is the Coens channeling the work of James M. Cain (“Double Indemnity,” “The Postman All the time Rings Twice”), with just a little Jim Thompson (“The Killer Inside Me”) combined in for good measure. It is a sordid story of blackmail, homicide, infidelity, UFOs, and dry cleansing, and it will get higher each time you watch it. Billy Bob Thornton delivers what is likely to be his finest efficiency (the opposite two contenders would most likely be “Unhealthy Santa” and Sam Raimi’s underrated “A Easy Plan”) as Ed Crane, a barber residing in California in 1949. Whereas Ed narrates our story — with Thornton delivering the narration in a delightfully flat, monotone method — he is a person of few phrases.

Ed is married to Doris (Frances McDormand). Does the couple love one another? I feel they do, in their very own methods. One early scene has Ed sensually shaving Doris’ legs and sharing a cigarette along with her whereas she soaks within the bathtub. And but, Doris can be seemingly having an affair along with her boss, division retailer proprietor and native blowhard Huge Dave (the late, nice James Gandolfini). Ed is conscious of this affair, however he makes seemingly no effort to do something about it. His motivations stay a complete thriller to us by design.

After Ed learns a couple of enterprise alternative involving the burgeoning expertise of “dry cleansing,” he makes an attempt to blackmail Huge Dave for the cash to take a position. Issues do not go precisely in keeping with plan, nonetheless, and Huge Dave finally ends up lifeless — and Doris will get arrested for his homicide. From right here, we comply with Ed as he makes an attempt to mount his spouse’s protection with the assistance of a hot-shot lawyer (a scene-stealing Tony Shalhoub). Ed additionally develops a wierd infatuation with native teen woman Birdy (Scarlett Johansson). Is it a “Lolita”-like lust? Possibly, possibly not.

Once more: Ed is a thriller, and that is a part of what makes the movie so fascinating. Probably the most memorable sequences within the movie has Ed narrating the story of how he and Doris first males, stopping the story so he can exit and commit a homicide, after which returning dwelling to complete the narration the place he left off. Is he even fascinated about the crime he simply dedicated?

Whereas “The Man Who Wasn’t There” is incessantly humorous (Shalhoub’s fast-talking, food-loving lawyer is hilarious, as is Michael Badalucco, enjoying Ed’s doofus brother-in-law), there is a haunting melancholy to the entire thing that makes the movie actually unforgettable. Deakins’ black and white cinematography is stark and lovely, stuffed with lengthy darkish shadows and blinding white lights (curiously sufficient, Deakins truly shot the movie on colour 35mm movie and transformed it to black and white throughout submit). Then there’s Thornton’s narration, which alternates between being dryly droll to downright profound.

Thornton’s quiet, unusual efficiency is a puzzling enigma; a riddle we will not actually resolve. Is he indignant that Doris had an affair? He would not appear to be. Does he actually assume the dry cleansing funding will make him wealthy? It is exhausting to say, and when he finds out he is been apparently cheated within the deal, he barely reacts. And what about his relationship with Birdy? He turns into satisfied she’s a piano prodigy despite the fact that she’s not, and tries to assist her along with her future. She assumes his attentions are lustful — however are they? Ed says they don’t seem to be. However does he even know for certain?

There aren’t any concrete solutions right here, and I think that is likely to be why “The Man Who Wasn’t There” by no means caught on the best way different Coen classics did. However each time I rewatch it, I discover it to be even stronger than I keep in mind. It is held up exceptionally nicely, and this Criterion launch is the proper approach for followers to snap up the movie or for brand spanking new audiences to find what they have been lacking all this time.