A movie log formerly known as Bookishness / By Charles Matthews
"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."--Gabriel García Márquez, One Hundred Years of Solitude
Sunday, January 15, 2017
Blood Simple (Joel Coen and Ethan Coen, 1984)
No Country for Old Men (2007), are about plans that backfire, that it's no surprise their first feature, Blood Simple, has a plot that hinges on just that. When Texas bar owner Julian Marty (Dan Hedaya) discovers that his wife, Abby (Frances McDormand), is having an affair with one of his bartenders, Ray (John Getz), he hires a private detective, Visser (M. Emmet Walsh), who discovered the affair, to kill them. But Visser has other ideas: He finds Ray and Abby asleep in Ray's bed, takes a picture of them, and steals Abby's gun. Then he doctors the photograph to make it look like he has shot them to death, collects the reward from Marty, and then shoots Marty with Abby's gun to frame her for his murder. But wait, there's more! It involves the fact that Marty is not (yet) dead, that he kept a copy of the doctored photo in his safe when he paid off Visser, and that Visser accidentally left his cigarette lighter behind in Marty's office. And so on, as almost everyone gets what's coming to them. Blood Simple may be just a tad over-plotted, and there are a few things that seem too contrived -- Visser's carelessness with the lighter, for one. But on the whole, it's good nasty fun, with some solid performances. McDormand, in her first film role, is strikingly pretty, and manages a remarkable character transition from naïveté to resourcefulness. Walsh and Hedaya, two reliable character actors, make the most of their juicy roles. Cinematographer Barry Sonnenfeld and composer Carter Burwell, both making their feature film debuts, help craft the film's very effective noir atmosphere.