Saturday, November 30, 2013

"Blood Simple.": A Brilliantly-Styled Crime Started Simple, but Grew Complicated

Blood Simple.

This post is written as part of the series "the films of... Joel Coen amd Ethan Coen".

What is interesting from “Blood Simple.”, the Coens’ debut film, is its originality. It was a classic, low-budgeted crime-thriller from which Joel and Ethan Coen started to get attention from Hollywood. You can even tell what an indie project “Blood Simple.” is just by counting down the film goofs (which are apparent to see), but no one will doubt the originality of both the film’s story and style.

Saturday, November 23, 2013

"The Hudsucker Proxy" Delivers Cartoon-Like Comedy with Outstanding Cinematography

The Hudsucker Proxy

This post is written as part of the series "the films of... Joel Coen and Ethan Coen"

So we’ll encounter another kind of films by Joel and Ethan Coen; something that experts would refer as a screwball comedy, although I don’t really understand what it means. Whatever term they use, you can easily tell that “The Hudsucker Proxy” is a distinguished comedy, especially by seeing how different the dialog and the actings are. But, difference does not always offer a good return: “The Hudsucker Proxy” is a big flop at the time it was released, perhaps because it feels like an overdone tease—at least for me.

The Elegant, Black-and-White "The Man Who Wasn't There" Comes with Sorrowful Mood but Half-Cooked Philosophical Messages


This post is written as part of the series "the films of... Joel Coen and Ethan Coen"

Then Joel Coen and Ethan Coen put something particularly new into his filmography: a black-and-white film. Some may consider it risky, while some other see it as a breakthrough that worths our attention. I think, despite of the black-and-white coloring, "The Man Who Wasn't There" is not really far from the genre that "the two-headed directors" are acknowledged for: a saddening, philosophical story wrapped with crime. Give it an old-fashioned cinematographical touch, put some strange characters, but do it the Coens' way; and you'll get a seemingly noir film that almost lost its charm.

Tuesday, November 19, 2013

"O Brother, Where Art Thou?" is Joyous with Lovely Country Songs, but Too Many Characters Around


This review is written as part of the series "the films of... Joel Coen and Ethan Coen"

When receiving his Oscar for winning Best Adapted Screenplay for "No Country for Old Men", Joel Coen jokingly said, " "I think whatever success we've had in this area has been entirely attributable to how selective we are--we've only adapted Homer and Cormac McCarthy." Cormac McCarthy is, of course, the author of the novel from which the Coens adapted into "No Country", but Homer? "The Odyssey" by the greatest Greek poet is indeed listed as the work adapted by the Coens for "O Brother, Where Art Thou?", but the fact is, they have never really read it. It has just inspired them.

Sunday, November 17, 2013

"Barton Fink" Rounds Up Metaphors and Criticisms about Film Industry with Solid Characterization

Barton Fink

This post is written as a part of the series of "the films of... Joel Coen and Ethan Coen"

Perhaps “Barton Fink” is one of the rarest film to win all three most prestigious categories in Cannes: Best Actor (for John Turturro), Best Director (for Joel Coen), and Palme d’Or, because recently Cannes prohibits film to win more than one award at one time. But it does not matter; you can just say that “Barton Fink” delivers criticism about the struggling life of Hollywood viewed from the religious metaphor of heaven and hell or good and evil. From here you can just say that “Barton Fink” describes how free ideas meet the urge of business matter, and how Hollywood hides the pain and bitter pills that finally build up its glamour under the name of creativity.

Saturday, November 16, 2013

the films of... JOEL COEN and ETHAN COEN

the films of Joel Coen and Ethan Coen

I hope this is gonna be a routine feature of Me On The Movie (!) but, anyway, I proudly present to you my tribute to Joel Coen and Ethan Coen. Some of you who followed me on Twitter must have known that the two are the directors whose works I have been admiring since last month. The idea of this feature suddenly pops into my mind, perhaps since I watched the thought-provoking “A Serious Man” or the finely-written “No Country for Old Men”. So, I start collecting all of his films and watching them one by one.