Today’s quick review: The Man Who Wasn’t There. Ed Crane (Tommy Lee Jones) leads a mundane life as a barber working for his talkative brother-in-law (Michael Badalucco). He has a cold relationship with his wife Doris (Frances McDormand) and suspects her of cheating on him with her boss Big Dave (James Gandolfini). But when an entrepreneur (Jon Polito) drifts through town, looking for $10,000 to invest in a surefire business, Ed sees an opportunity to shake off his humdrum existence and try something different for a change. He blackmails Big Dave with his suspected affair, threatening to reveal his infidelity unless he provides the money that Ed needs to invest. But the blackmail does not go as smoothly as planned, and an unfortunate series of events causes Ed’s meager life to fall to pieces.
The Man Who Wasn’t There is a black-and-white crime drama from the Coen Brothers. Unlike the Coen Brothers’ more comedic work, The Man Who Wasn’t There falls squarely on the dramatic side of the spectrum. The film examines the bleakness of existence, the consequences of even the most sensible actions, and the ironies of life. Its progression is deliberate yet unpredictable, a sequence of events rather than one grand story. The plot twists come early and often, but no single twist defines the story. Instead, the twists serve to connect one event to the next while keeping the story from settling into an identifiable pattern. The product is a tight if unconventional plot: every scene and line of dialogue serves a clear purpose, either to move the plot along or develop one of the story’s themes.
Tommy Lee Jones delivers a solid performance as the reticent and detached Ed Crane, a man adrift in routine and almost without agency. His few concrete choices in the movie tend to backfire on him, and much of the time he is a passive observer of his own life. His sole form of escape is the piano music of Birdie Abundas (Scarlett Johansson), the teenage daughter of his friend. Birdie’s music provides the basis for the film’s magnificent soundtrack, a collection of beautiful Beethoven pieces for piano. Between the piano soundtrack, the black-and-white visuals, the clean direction, the crisp writing, and Tommy Lee Jones’ tempered and insightful narration, The Man Who Wasn’t There has all the elements of a masterful if depressing film.
Fans of drama and cinematic artistry should watch The Man Who Wasn’t There if only to experience its craftsmanship. The Coen Brothers are at their technical finest, and with The Man Who Wasn’t There, they prove they can deliver an engaging, well-crafted drama without relying on comedy, excessive violence, or even color photography. Those who prefer their films optimistic or fanciful would do well to steer clear. For all its quality, The Man Who Wasn’t There is an unrepentantly bleak film. Its value lies in its craft and execution rather than charm, action, mystery, or any other characteristic that an escapist might desire.
7.6 out of 10 on IMDB. I give it a 7.0 out of 10 for quality execution of a dark story; your own score will be higher or lower depending on how well you like the tone.