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The Man Who Wasn't There

  • 2001
  • U
  • 1 घं 56 मि
IMDb रेटिंग
7.5/10
1.2 लाख
आपकी रेटिंग
लोकप्रियता
3,856
164
Frances McDormand, Billy Bob Thornton, and James Gandolfini in The Man Who Wasn't There (2001)
Theatrical Trailer from USA Films
trailer प्ले करें1:36
2 वीडियो
99+ फ़ोटो
अपराधड्रामापीरियड ड्रामामनोवैज्ञानिक ड्रामा

अपनी भाषा में प्लॉट जोड़ेंA laconic, chain-smoking barber blackmails his wife's boss and lover for money to invest in dry cleaning, but his plan goes terribly wrong.A laconic, chain-smoking barber blackmails his wife's boss and lover for money to invest in dry cleaning, but his plan goes terribly wrong.A laconic, chain-smoking barber blackmails his wife's boss and lover for money to invest in dry cleaning, but his plan goes terribly wrong.

  • निर्देशक
    • Joel Coen
  • लेखक
    • Joel Coen
    • Ethan Coen
  • स्टार
    • Billy Bob Thornton
    • Frances McDormand
    • Michael Badalucco
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.5/10
    1.2 लाख
    आपकी रेटिंग
    लोकप्रियता
    3,856
    164
    • निर्देशक
      • Joel Coen
    • लेखक
      • Joel Coen
      • Ethan Coen
    • स्टार
      • Billy Bob Thornton
      • Frances McDormand
      • Michael Badalucco
    • 496यूज़र समीक्षाएं
    • 177आलोचक समीक्षाएं
    • 73मेटास्कोर
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • 1 ऑस्कर के लिए नामांकित
      • 25 जीत और कुल 43 नामांकन

    वीडियो2

    The Man Who Wasn't There
    Trailer 1:36
    The Man Who Wasn't There
    A Guide to the Films of the Coen Brothers
    Clip 1:56
    A Guide to the Films of the Coen Brothers
    A Guide to the Films of the Coen Brothers
    Clip 1:56
    A Guide to the Films of the Coen Brothers

    फ़ोटो110

    पोस्टर देखें
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    + 105
    पोस्टर देखें

    टॉप कलाकार65

    बदलाव करें
    Billy Bob Thornton
    Billy Bob Thornton
    • Ed Crane
    Frances McDormand
    Frances McDormand
    • Doris Crane
    Michael Badalucco
    Michael Badalucco
    • Frank
    James Gandolfini
    James Gandolfini
    • Big Dave Brewster
    Katherine Borowitz
    Katherine Borowitz
    • Ann Nirdlinger Brewster
    Jon Polito
    Jon Polito
    • Creighton Tolliver
    Scarlett Johansson
    Scarlett Johansson
    • Birdy Abundas
    Richard Jenkins
    Richard Jenkins
    • Walter Abundas
    Tony Shalhoub
    Tony Shalhoub
    • Freddy Riedenschneider
    Christopher Kriesa
    Christopher Kriesa
    • Officer Persky
    Brian Haley
    Brian Haley
    • Officer Krebs
    Jack McGee
    Jack McGee
    • P.I. Burns
    Gregg Binkley
    Gregg Binkley
    • New Man
    Alan Fudge
    Alan Fudge
    • Dr. Diedrickson
    Lilyan Chauvin
    Lilyan Chauvin
    • Medium
    Ana-Sofia Mastroianna
    Ana-Sofia Mastroianna
    • Jacques Carcanogues
    Ted Rooney
    Ted Rooney
    • Bingo Caller
    Abraham Benrubi
    Abraham Benrubi
    • Party Man
    • निर्देशक
      • Joel Coen
    • लेखक
      • Joel Coen
      • Ethan Coen
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

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    9emgeh

    awesome!

    since i have seen my first coen-brothers movie, i think, it was Fargo, i'm a great fan of these film-makers.

    i can't remember how often i watched this movie, because every time i get fascinated by the interesting story and the excellent characters. the slowness of the movie is fascinating. in spite of the slowness i never felt bored. the whole time i'm watching and thinking of the misery ed crane stepped into.

    the next highlight is the great soundtrack. Beethoven was and is the greatest composer ever. and the songs of carter burwell are awesome, not only in this movie, in every movie of the coen-brothers.

    i recently read in a comment on this movie, that someone could not imagine that somebody around the age of 25 votes high for this movie. I'm 21 and there was nothing that disturbed me.

    without doubt the man who wasn't there is one of my favorite movies.
    8TBJCSKCNRRQTreviews

    Great neo-noir film by the Coen brothers

    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
    9pc_dean

    Black and White and Gray All Over

    Billy Bob Thornton has the perfect face for film noir. His craggy, drawn features lead up to sunken but large and staring eyes, and cheeks that look to be made out of plaster. Particularly when shot in black and white, his face becomes a landscape of shifting shadows, while he doesn't move a muscle. He is able to give the impression of a man at war with himself even while sitting perfectly still and staring ahead. He's Jeremy Irons, only without that unsettling accent. The Coen brothers take great advantage of their stars' granite physiognomy throughout "The Man That Wasn't There," constructing several shots around Thornton staring into a point just slightly away from the camera, impassive as an Easter Island head, moving only to smoke an ever-present cigarette while the obligatory noir voice-over narration runs. His voice is perfect, too: a kind of calm, measured rumbling, which describes incredible events but never seems amazed by them. Thornton says "I don't talk much," and it's true: he doesn't do much either, but he is still fascinating, and commands our attention.

    The Coens take great relish in the noir conventions, even beyond the 1940s setting and the black and white photography (let's face it, we're so used to '40s movies in black and white that color would look a little weird). The story follows classic lines (with a few wild divergences): Thornton's character is a barber in one of those small postwar California towns that Hitchcock was so enamored of. He comes up with a scheme to raise some money, which naturally spins a little beyond what he anticipated. That's all I can say in good conscience, and the plot goes pretty far afield (I mean REALLY far afield, catering to fans both of Dashiell Hammett and "Earth vs. the Flying Saucers"). But really, you know what to expect, if you've ever seen one of these movies before: greed, dark secrets, and murder, in a world of fedoras, cigarette smoke, snapping lighters, and deep moral turpitude. A world where nothing or no one is what they seem, and the only sure thing is that, in the end, some sap is gonna get it.

    As good as Thornton is, he can't carry the movie alone. Fortunately, he is surrounded by a top-notch cast, including a lot of familiar Coen veterans, and it is this that really makes this movie work. Michael Badalucco puts in a hilarious turn as Thornton's gabby brother-in-law, Frances McDormand is effective in her relatively few scenes as his brittle wife, and James Gandolfini plays yet another boorish tough guy to a turn. Practically shoplifting the movie is Tony Shalhoub, playing a fast-talking Sacramento lawyer who doesn't so much speak as summate. His discussion of Heisenberg is almost worth the ticket price alone. Christopher Kriesa and Brian Haley get a lot of mileage out of their brief appearances as a pair of slightly dim cops (aren't they all in these movies?)

    Joel Coen, who directed, makes sure that the movie is consistently interesting to watch, too. Black and white photography being mostly about shades of gray, noir is perhaps the only genre that benefits from the relative primitiveness of its visual technology. Coen, therefore, sticks with it, unlike the colors he used in the '30s themed "O Brother Where Art Thou?" which managed to be both more fanciful and less surreal than this movie. He uses the light-and-shadow character of black and white to great effect here, carefully crafting his images to make best use of it. In fact, if the movie has a fault, it's that the images are a little TOO carefully crafted. The purest noir was cleverly filmed, but it allowed its cleverness to seep into the background. You have to watch a few times to pick up on how sharp the filmmaking is. Coen is unable to hide his arty cleverness, and so in the end, fun as it is to watch, the movie is a bit too pretty to truly capture the essence of its forbears. Perhaps realizing this, the Coens tweak the conventions mercilessly, and inject a streak of humor that is funnier for being played so straight (there are lots of funny lines, but don't be surprised if you are the only one in the theater laughing. Actually, don't be surprised if you are the only one in the theater, period.) The movie does require a bit of patience; the pacing is intense but quite slow, and the story wanders like a drunk driver. In the end, it is somewhat debatable whether the twisty plot is fully resolved, or whether that even matters. "The Man That Wasn't There" is best viewed as a wicked cinematic joke, and in that regard, it succeeds, in (Sam) spades.

    But what do I know? I'm just some sap.
    nunculus

    What kind of a man are you?

    It starts as another Coenian postmod pastichey picaresque: Noir Guy (Billy Bob Thornton), a barber, has a souse of a wife (Frances McDormand, floridly cast "against type") who loves bingo and her boss at work, a scheming fat man named Big Dave (James Gandolfini). When a comically inept con man (Jon Polito) comes to town, wanting to find a partner in a new business called "dry cleaning," we can see the signs a block away: Blackmail, best-laid-plans, murder ahead. The emphasis in this extremely academic take--more academic even than the Ph.Dish MILLER'S CROSSING--is on the sociological and political roots of noir. The postwarness, the cold-warness, the sunshine-boomtownness of the movie's mythical Santa Rosa (the location of SHADOW OF A DOUBT--but really, it's just early-Ellroy L.A.) are all underlined and double-underlined.

    So far, so cool--and the movie is far easier to enjoy as a series of Abstracted Noir Components than the similarly suspension-of-disbelief-free LOST HIGHWAY. But then Noir Guy starts contemplating hair. He is the Sisyphus of Noirtown, performing a perfectly stupid task that never ceases to repeat itself, without gathering the slightest meaning. He even, in his blank way, waxes philosophical, like a Marine-town Woyzeck: "I want...I wanna put hair with...dirt, regular house dirt." "Ed, what the heck are ya talkin' about?" "I...Skip it."

    And soon the movie metamorphs into a fedoras-and-Pall-Malls riff on Camus' THE STRANGER. Why does the Man Who Wasn't There kick off the chain of events that brings down all manner of ruination? Jealousy? Boredom? No ordinary human motives will do. And the Coens slyly insert a shyster lawyer (Tony Shalhoub) who's full of dime-store variants on post-structuralist touchstones: he uses the Heisenberg Uncertainty Principle as a sort of Twinkie Defense, and claims that his client is "Modern Man himself!...Indict him, and you are indicting yourself!" All of which, the Coens make clear, is so much malarkey--a way of kidding oneself, substituting entropy for dogma, avoiding the scary unknowableness of being alive.

    Ethan Coen described THE MAN WHO WASN'T THERE as "the movie Martin Heidegger would have made if he had come to Hollywood"--unusually forthright for two guys who are just, aw shucks, entertainers. Like Spielberg's A.I., it uses a perfectedness of technique to render the world as an arrangement of totemic abstractions--pixilated dots that don't add up to a coherent object. The movie gets you, terrifyingly and melancholically, inside the head of a guy for whom the simplest, table-and-chairs stuff is ceasing to make sense. And the brothers use Carter Burwell's variant on Beethoven's "Moonlight Sonata" in a way that's as crazily persistent, and ceaselessly effective, as the insanely repetitive romantic theme from Godard's CONTEMPT. (Not even Godard has used late Beethoven so aptly.) Like BARRY LYNDON, another movie whose central question is "What kind of a man are you?," THE MAN WHO WASN'T THERE has an elusive, smokelike plangency. It's a picture you'll puzzle over, and sigh achingly at its images, for many years to come.
    9Spleen

    A living, breathing specimen of a species we thought had been extinct for decades

    I'm sorry, but I like my black and white black and white - ESPECIALLY in a film that sets out to be the most pure film noir of all. The shadows should be, simply, black, not black tinted with dark green. The greys should be, simply, grey, not pearl grey or slate grey or any of the other shades of paint-catalogue grey that are the result (I presume) of trying to make a black and white film without using any actual black and white film. I don't know the precise technological explanation; I do know that the film would be at least twice as good if the Coens would simply take the master print and transfer it to whatever material they use when they screen, say, "Double Indemnity". This is not hyperbole.

    Not that it's not good already. Joel Coen, who in "O Brother, Where Art Thou" showed himself to be one of the few living directors capable of fully exploiting colour, shows himself here to be one of the few living directors capable of fully exploiting light and shade. I particularly liked the scene where the defence lawyer explains why if we look at something too closely, we fail to see it, while his face (and only his face) is bathed in JUST enough too much light to prevent us from seeing it properly. It sounds academic, but it works: the Coens never use an idea if they can't make it breathe.

    As a rule, first-person narration breathes life into books but kills films - with the exception of one genre: film noir. And the Coens understand why it works, when it does, in this rare exception. Like most noir protagonists, Ed Crane (Billy Bob Thornton) is almost perfectly uncommunicative: neither his conversation nor his actions tell us anything about him. We need direct access to his very thoughts, put into words, to be able to understand what's going on and to appreciate his story. And it's only fitting that we're allowed to listen to him as HE takes stock of his own story, for the very first time, now that it's all over. -And maybe the Coens don't even need this justification. Ethan has written what may be the most delicious, perceptive and apt first-person voice-over the genre has seen.

    "The Man Who Wasn't There" is not as magnificent an achievement as "Barton Fink" or "O Brother, Where Art Thou" - but then, no noir film is. (It's really a constricting genre; Billy Wilder's finest works aren't noir, either.) The fact that there are so many good noir films should be regarded as a miracle. Here is another miracle.

    इस तरह के और

    बार्टन फिंक
    7.6
    बार्टन फिंक
    The Hudsucker Proxy
    7.2
    The Hudsucker Proxy
    मिलर्स क्रॉसिंग
    7.7
    मिलर्स क्रॉसिंग
    Intolerable Cruelty
    6.3
    Intolerable Cruelty
    A Serious Man
    7.0
    A Serious Man
    Blood Simple
    7.5
    Blood Simple
    The Ladykillers
    6.2
    The Ladykillers
    रेज़िंग ऐरिज़ोना
    7.3
    रेज़िंग ऐरिज़ोना
    Hail, Caesar!
    6.3
    Hail, Caesar!
    Inside Llewyn Davis
    7.4
    Inside Llewyn Davis
    O Brother, Where Art Thou?
    7.7
    O Brother, Where Art Thou?
    Burn After Reading
    7.0
    Burn After Reading

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      Joel Coen and Ethan Coen came up with the story while working on The Hudsucker Proxy (1994). While filming the scene in the barbershop, the Coens saw a prop poster of 1940s haircuts and began developing a story about the barber who cut the hair in the poster.
    • गूफ़
      Birdy Abundas says that Ludwig van Beethoven "was deaf when he wrote this. [...] He never actually heard it", referring to his Piano Sonata No. 8 in C Minor, Op. 13, "Pathetique". When Beethoven composed this specific Sonata in 1798, he wasn't deaf. He already had some auditory troubles but he became totally deaf later, around 1815. During the very beginning of the 19th century he was still able to play public concerts and to hear the pieces he was composing.
    • भाव

      Reidenschneider: They got this guy, in Germany. Fritz Something-or-other. Or is it? Maybe it's Werner. Anyway, he's got this theory, you wanna test something, you know, scientifically - how the planets go round the sun, what sunspots are made of, why the water comes out of the tap - well, you gotta look at it. But sometimes you look at it, your looking changes it. Ya can't know the reality of what happened, or what would've happened if you hadn't-a stuck in your own goddamn schnozz. So there is no "what happened"? Not in any sense that we can grasp, with our puny minds. Because our minds... our minds get in the way. Looking at something changes it. They call it the "Uncertainty Principle". Sure, it sounds screwy, but even Einstein says the guy's on to something.

    • क्रेज़ी क्रेडिट
      The opening titles cast shadows on the wall as if they are real.
    • इसके अलावा अन्य वर्जन
      Though original intended to be released in black and white, the movie was originally shot in color. Some countries released the movie in color (e.g. Japan) for marketing reasons. Both versions are released on home media.
    • कनेक्शन
      Featured in Siskel & Ebert & the Movies: What's the Worst That Could Happen?/Pearl Harbor/The Anniversary Party/Stanley Kubrick: A Life in Pictures (2001)
    • साउंडट्रैक
      Piano Sonata No.8 in C minor, Op.13 (Pathetique)
      (1799)

      Written by Ludwig van Beethoven

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल21

    • How long is The Man Who Wasn't There?Alexa द्वारा संचालित
    • What is the meaning of Freddy Riedenschneider's "uncertainty principle" and how Dave Brewster's military record would serve as a solid defense in trial?

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 26 अक्टूबर 2001 (यूनाइटेड किंगडम)
    • कंट्री ऑफ़ ओरिजिन
      • यूनाइटेड किंगडम
      • यूनाइटेड स्टेट्स
    • भाषाएं
      • अंग्रेज़ी
      • इतालवी
      • फ्रेंच
    • इस रूप में भी जाना जाता है
      • El hombre que nunca estuvo
    • फ़िल्माने की जगहें
      • Plaza Square - Orange, कैलिफोर्निया, संयुक्त राज्य अमेरिका
    • उत्पादन कंपनियां
      • Good Machine
      • Gramercy Pictures (I)
      • Mike Zoss Productions
    • IMDbPro पर और कंपनी क्रेडिट देखें

    बॉक्स ऑफ़िस

    बदलाव करें
    • बजट
      • $2,00,00,000(अनुमानित)
    • US और कनाडा में सकल
      • $75,04,257
    • US और कनाडा में पहले सप्ताह में कुल कमाई
      • $6,64,404
      • 4 नव॰ 2001
    • दुनिया भर में सकल
      • $1,89,18,721
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