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DIRECTED BY: Joel Coen, Ethan Coen
FEATURING: Billy Bob Thornton, Frances McDormand, Scarlett Johansson, James Gandolfini, Jon Polito, Tony Shalhoub
PLOT: A stoical barber develops a plan to blackmail his wife’s employer, which spirals out of control.
COMMENTS: The Coen Brothers began their career in film noir with Blood Simple (1984), and much of their subsequent work has either referenced or revolved around noirish themes. Blood Simple, alongside Fargo (1996) and No Country for Old Men (2007), are classic neo-noirs in rural settings. Non-noir offerings like Miller’s Crossing (1990) and Barton Fink (1991) still feature doomed, alienated heroes and challenging ethical dilemmas, and even The Big Lebowski (1998) flirts with noir themes with its complicated crime caper in an LA setting. But The Man Who Wasn’t There is their one take on the classic formula: post-war period setting, chiaroscuro cinematography, carefully-planned crime that goes horribly wrong, moral corruption, and a flawed protagonist increasingly resigned to his dim fate. Who wouldn’t want to see the brothers give their straightforward take on film noir, with all the moralistic nihilism that implies?
The plot is a classic noir knot: a “simple” act of blackmail leads to a pair of unintended murders, which leads to the wrong person being put on trial, which, in a roundabout way, eventually leads to misplaced but ironically appropriate justice. Our antihero, Ed Crane, is a disaffected barber who is only slightly more engaged with the world than Mersault. He tolerates his job; he likes his wife and their passionless life together well-enough, even though he suspects she may be cheating on him. His descent into crime happens on a whim, to garner investment funds after hearing a pitch by a dry-cleaning entrepreneur. He’s a man of few words, except when it comes time to deliver expository voiceovers.
In some sense, there isn’t a lot there in The Man That Wasn’t There. Although there are twists, the plot often drags, like Ed Crane’s own mundane suburban life. But for a single bad decision, Ed would not have left much of a mark on the world: he would have glided through life silently cutting hair and smoking cigarettes, dispassionate and content to watch life slip by. He’s a barber by profession, but it’s just something he drifted into; really, “that'”barber” is too much of an identity for him. As he says, he “just cuts the hair.” In the course of the film, he develops exactly two passions: once, his brief interest in dry-cleaning, and a more substantial interest in the teenage daughter of a drunken customer (it’s not what your dirty mind is thinking; he’s charmed by her faltering rendition of a Beethoven piano sonata). Both times, his sudden engagement with the world leads him to unwitting tragedy.
The Man Who Isn’t There is, mostly, a solid, authentic rendition of the classical noir style. It only departs from the 40s formula in a few particulars. Homosexuality is acknowledged and plays a role in the plot; Ed’s slightly inappropriate fixation on Birdy also crosses a line that would have barely been hinted at by the previous cinematic generation. Further, the film is more obviously and artily existential than its forebears. The Coens humorously reference Heisenberg’s Uncertainty Principle (absurdly, Ed’s trial lawyer wants to make it the centerpiece of his defense), which presages their more thorough exploration of the enigma of Schrödinger’s famous feline in A Serious Man. Finally, the movie’s weirdest element (perhaps its only weird element) is the mysterious usage of UFOs as a metaphor for…. something (modern man’s futile search for meaning in the universe?) But these eccentricities hardly depart much from the source homage, making The Man Who Wasn’t There a satisfying throwback to a simpler age, when people were more complex.
WHAT THE CRITICS SAY:
(This movie was nominated for review by Lee Taylor. Suggest a weird movie of your own here.)
