Encontro Marcado

Whenever this film is aired, I'm drawn to watch it. The pace, like life, is slow. Some people find this to be a problem. I feel sorry for those people; maybe they've been so saturated by "fast food" films and reality TV that they think that's the way life is supposed to be. Unlike life, the film has no "wasted space". So, while it may seem too long for theatre viewing, it's plenty short for sitting back in an easy chair for three hours and just letting it draw you in--with the excellent dialogue (including the Patois), excellent performances by truly talented actors, and above all the [again] excellent score by Mr. Newman. If you're a romantic not just about love, but also about life, then treat yourself and watch it.

In the recent thriller The Edge, Anthony Hopkins played a wealthy businessman who is transformed by a harrowing encounter with death. In Meet Joe Black, Anthony Hopkins plays Bill, a similar character confronting similar themes, but with a very different twist. Here he meets Death as played by Brad Pitt. Death informs Bill that he wants to see what life is like and he wants Bill to teach him. So long as Death is interested and learning, Bill gets more time. When Bill has to introduce Death to his family at dinner, he fumbles around for a name, eventually coming up with Joe Black.

This is hardly the first film to depict bargains with Death. In Ingmar Bergman's Seventh Seal the allegorical figure of death (complete with shroud) is challenged to a game of chess. His intended victim hopes to forestall the inevitable. Bergman's Death character is reprised in Woody Allen's Love and Death, The Last Action Hero, and Bill and Ted's Excellent Adventure. In Meet Joe Black we are spared the shroud since Death decided to borrow a body from one of his victims. (If you gotta' have one, might as well borrow one that looks like Brad Pitt, I guess.)

The real twist in this film comes in what could be taken as the sub-plot. Death falls in love with Bill's daughter Susan. Susan is involved with Drew, her father's right-hand man in the business world. Drew meanwhile is conniving at some underhanded business deals of his own. The plot takes more than a few twists and turns along the way, but in the end it is neither the plot nor the grand theme (if there is one) that makes the film engaging. Sometimes its the ride itself that makes the journey worthwhile.

Frankly, there are more than a few problems of plausibility here (even after we grant willing suspension of disbelief to the central premise). As one small example, Joe Black is fluent in Jamaican patois, but doesn't know how to tie a tie. The cinematography is good, but not outstanding, and the performances are no more that what we would expect under the circumstances.

Still in all, there were more than a few moments along the way where the audience laughed pretty hard. At one point the audience applauded (in the middle of the movie no less), and I'm sure there were more than a few smiles on more than a few occasions. By the end of the film, director Martin Brest (Scent of a Woman) has given us quite a few simple pleasures along the way. If there is a grand theme to the film, perhaps that is it . . . . it's the simple pleasures that make life good, and in the end, caring is everything.

Death, who takes the form of a young man (Brad Pitt), asks a media mogul (Anthony Hopkins) to act as a guide to teach him about life on Earth and in the process he falls in love with his guide's daughter (Claire Forlani).

So this is a remake of a movie that was adapted from a play. Typically that could be concerning, as a remake is not often as good as the original. In this case, though, it may even be better... the cast is solid (with Forlani in one of her rare decent roles), and Brad Pitt making a name for himself (as if he has not already).

Really, this is a great display of Pitt's acting. He has solid range here, possibly more than anything else he has done. The character is very complex, and there is the odd twist that Forlani is attracted to him because he looks like someone he is not, and not for any deeper reason. Amazingly, even at three hours, this film never drags.

Film reviews are irrelevant. Perception is key. Meet Joe Black is a meet on its own. If you are not into romantic tear jerkers, watch this film and find out that your human and have the ability to change your mind. I speak from experience. The story: Simple and easy to understand. The director made a simple life event into a magical experience. Love and death go hand in hand in a mixture of sublime acting, awesome sceneries, superb dialogues, nerve touching details and result in a romantic drama where the happy ending does not cover the sadness and emotions and leaves you choked till the last over the rainbow tune ends. After 40 years of watching thousands of films, this film still is my number 1 film in my top 100 films where all one hundred share the first place. Brad Pitt, Sir Anthony Hopkins (brilliant classical composer btw) and the gorgeous Claire Forlany showed of their qualities. Same for all the other participants in thisepic story about how life will go on. Perception. ... but from my pov their best acting ever. I have seen it at least once every 2 years. If it will be your first time, settle for it. If you are still young, and think you become a film addict, be aware! You will get drawn in this film for decades to come. Enjoy this experience. And let it knock you out as well ☺

Somewhere in the netherworld between being a "remake" and merely "inspired by" Mitchell Leisen's 1934 film Death Takes a Holiday, Meet Joe Black is the story of Death personified. Death takes over the body of Brad Pitt's unnamed character, later donned "Joe Black" by William Parrish (Anthony Hopkins). Although the motivation isn't specified but implied in this film, Death wishes to experience the life he normally takes away--he wants to see what it's like to be human. He chooses Parrish to be his guide because Parrish is a hugely successful media mogul who has conviction, strong "moral fiber" and insight on life. Compounding the situation, Parrish's daughter, Susan (Claire Forlani), is a woman whom Brad Pitt's unnamed character met in a coffee shop that morning and had an instant mutual attraction with. Black sticks close by William's side through much of the film, creating difficult situations at a time when Parrish's company is trying to deal with a financially attractive but ethically unsavory takeover bid, and he also puts the boil to somewhat strained familial relationships.

First, a word of warning. This is a very long film (3 hours), and it tends to be very slowly paced. If you are averse to either, or if you do not like any of the three principals—Pitt, Hopkins and Forlani--I'd advise you to avoid the film.

For me, I never think that a film's length is a problem in itself. As long as the film works, I'd be happy with it lasting 4, 5, even 12 hours or more--heck, I even gladly sat through Gettysburg (1993) in the theater. There have been films I've thought were too long (such as Whatever Happened to Baby Jane, 1962), but it's contextual, not related to actual running time.

Helmer Martin Brest directs with a lot of deliberation. Lines of dialogue and responses are stretched out to "infinity and taken to the depth of forever". The camera gives us lots of lingering gazes. There is little to no "action" in the film. Much of it is similar to David Lynch's famed pregnant pauses. Some people hate that style. I love it (although I love other styles, too--I like variety), and for me, the pacing makes this film seem much shorter than its actual running time. It's the complete opposite of the pacing of, say, Medallion (2003), which is interesting given that both films feature Forlani. It's also interesting to note that Brest's career seems to match the pacing of Meet Joe Black. He's taken 2, 4, 5 and 6 years between films. Obviously, Brest is not in a rush.

If you watch Meet Joe Black immediately after watching Death Takes a Holiday, as I did this time around, a few things might strike you as odd and slightly negative at first. The principal difference that had this initial effect on me was the change in the primary romantic relationship--between Joe and Susan (and between Prince Sirki (Frederic March) and Grazia (Evelyn Venable) in the original). In the original, it's ambiguous whether Grazia doesn't recognize Sirki for what he really is all along. She at least never meets him as Sirki rather than Death-as-Sirki. It creates interesting philosophical scenarios about humankind's conception and fear of death; Grazia, who is a bit aloof all along, may be embracing death rather than fearing it, not as something negative, but more metaphysically, as inherent in the idea of life.

In Meet Joe Black, Susan falls for Pitt as another character first. It removes all of the philosophical points about one's attitude towards death (with the exception of William, who is the only one who knows the truth, even in the end, and who implicitly goes through vacillating feelings about death). However, despite my initial hesitation on the change, I tried to remember my commitment to judge each film on its own terms rather than its relation to other works, and I realized that the relationship set up here is interesting for another reason--it explores public identity in relationships and the tensions that arise through dynamicism of that public identity. That's a theme throughout the film, not just in its romantic relationships.

Pitt has often been criticized for his performance here, but in my opinion, it's perfect for the character(s)--just as good in its own way as March's turn as Sirki in the original. Once Pitt as Death takes over "Joe Black's" body, he _must_ change his persona in the way he does. He's supposed to be a supernatural being who normally relates to the world in a completely different way, but now he's suddenly made corporeal. He doesn't know what to do as a human. As an entity, he's not daft, lacking power or unknowledgeable about many things, but he's incredibly naïve and awkward as a thing of flesh. He's not used to relating to the world in that way. He's not used to making facial expressions. He's never tasted food, and so on. The change he undergoes in the beginning and end of the film is amazing and shows just how skilled Pitt is.

Hopkins and Forlani are of course no slouches, either. Hopkins' ability to go from understated and elegant to manic is put to good use; the role seems tailor-made for him. Forlani, who has a very unusual but intriguingly beautiful face that always looks a bit pouty, gets to pout even more, creating a bizarrely complex but effective character. The rest of the primary cast is just as good. The end result is a strangely dysfunctional family with a lot of depth.

While I can see people preferring Death Takes a Holiday to this film, for me, Meet Joe Black is slightly better. It's much more epic, of course, and that scope, plus the incredible score by Thomas Newman, pushes its emotional effectiveness up a notch. But make sure you do not miss either film. Both are excellent and unusual.