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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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    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

    उपयोगकर्ता समीक्षाएं496

    7.5118.4K
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    फ़ीचर्ड समीक्षाएं

    7auberus

    A beautifully shot "Film Noir" in black and white but with colorful characters

    The 2002 Cohen brothers film is a delight. "The Man Who Wasn't There" combines everything I like in the Coen brother's unique way of telling a story. From the comic of the situation witnessed in the famous "O Brother Where Art Though" (2000) to the originality of the scenario seen in "Barton Fink" (1991), not to mention the singularity of the characters and their lack of control over the situation in the excellent "Fargo" (1996), all those "hints" have been gathered to built this well thought story. Joel and Ethan directed and wrote this picture about a bored and boring chain-smoking barber admirably played by Billy Bob Thornton (best role for this under-rated actor)who blackmails his wife's boss and lover for money to invest in dry cleaning. As you sense the plan goes terribly wrong. I believe this story is a pretext to show us how little is our grip on the reality of our lives. And to demonstrate how justice easily becomes a comico-pathetic masquarade when given by men. On the contrary true Justice eventually lies in the wrinkles of men's destiny. As a conclusion you are better off expecting a landing of an alien spaceship than a fair and clear trial in a court of law. Whether we agree or not to this demonstration, it does not take away the pleasure of watching these terrific actors putting into play the original and dark scenario of the two brothers. Billy Bob Thornton is a master portraying to perfection Ed Crane (the laconic barber). Since Dead Man (1995) I don't recall a lot of movies where directors have capitalized on his enormous talent. Frances McDormand (Doris Crane) is as usual fantastic. We remember her in Wonder Boys (2000) and of course as the sheriff in Fargo (1996). Here she plays wonderfully the barber's wife going from bitterness to sorrow. Some characters can be seen as "cliche" like Freddy Riedenschneider the lawyer played by the good Tony Shalhoub, however they are all enjoyable to watch: James Gandolfini is terrific as "Big Dave" and Jon Polito very colorful as Creighton Tolliver, not to forget the very talkative and sincere Michael Badalucco as Franck Raffo or the great job done by Scarlett Johansson in the role of Rachael 'Birdy' Abundas the not very straight and quiet adolescent you would expect. The Black and White picture is more an artistic exploration from the Coen brothers and I don't think has anything to do with the chosen period (late 40's). However the black and white picture is very well shot by Roger Deakins and impose tremendously well Billy Bob Thornton's character and therefore never becomes a burden for the audience. "The Man Who Wasn't There" does not belong to any genre in particular. The Movie is made of a myriads of genres and characters that the Coen brothers have managed to master throughout their career of story tellers. The movie is a "film Noir" but not only, it is a dark comedy but not only, it is a light thriller but not only, it is shot in black and white but still have colorful characters, it tells a simple story of a laconic barber but there is more to it, eventually Justice will prevail but not the way we think it will. In the end it is a unique movie and in times where everything seems to look the same this movie becomes a true jewel.
    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.
    crow-13

    an interesting contribution to the Coen's ouvre

    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.
    10jotix100

    Brilliant Billy Bob Thornton

    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.
    9jhochner

    Why you should see this movie

    It is beautifully and refreshingly unpretentious. It is acted and filmed with grace and delicacy. This is the kind if movie we hope to find while sitting through most of the glitz and superficiality that gets made. Without question worth eight bucks, and two hours of your evening. Score another one for the Coen brothers.

    इस तरह के और

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    7.3
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    6.3
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    7.4
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    7.7
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    7.0
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    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

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    अक्सर पूछे जाने वाला सवाल

    • 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)
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      • Good Machine
      • Gramercy Pictures (I)
      • Mike Zoss Productions
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    • US और कनाडा में पहले सप्ताह में कुल कमाई
      • $6,64,404
      • 4 नव॰ 2001
    • दुनिया भर में सकल
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