The Man Who Wasn't There's Recent Activity

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Title: The Man Who Wasn't There
Year: 2001
Director: Joel Coen
Plot: Set in a sleepy Northern California town in the 1940s, Joel Coen and Ethan Coen's The Man Who Wasn't There stars Billy Bob Thornton as Ed Crane, a humble barber who suspects his hard-hearted and hard-drinking wife Doris (Frances McDormand) of having an affair with her boss (James Gandolfini). When a jocular stranger (Jon Polito) breezes into town hinting at the fortune to be made investing in an outlandish-sounding new invention called dry cleaning, Ed hatches a blackmail scheme he hopes will make him rich and get him some revenge at the same time. His plan goes horribly awry when he accidentally commits a murder for which Doris ends up being blamed, landing her in the slammer and Ed at the mercy of blowhard big-city lawyer Freddy Riedenschneider (Tony Shalhoub). Filmed in black-and-white by three-time Oscar-nominated cinematographer Roger Deakins, The Man Who Wasn't There was inspired by the seedy crime novels of James M. Cain, putting a distinctly Coen brothers' spin on the film noir tradition. Though spiked with their characteristic humor, its moody atmosphere hearkens back to the darker moments of Blood Simple and Fargo -- a marked departure from the high-spirited slapstick of O Brother Where Art Thou. ~ Tom Vick, All Movie Guide
Times Tagged: 17
Number of Lists: 45
Number of blog posts: 7
Number of discussion threads: 11
SpoutRating: 3
]]>Mon, 27 Jul 2009 18:53:36 GMTThe Man Who Wasn't There2001Joel CoenSet in a sleepy Northern California town in the 1940s, <a href="/players/P____85375/default.aspx" style='text-decoration:underline'>Joel Coen</a> and <a href="/players/P____85372/default.aspx" style='text-decoration:underline'>Ethan Coen</a>'s The Man Who Wasn't There stars <a href="/players/P____70825/default.aspx" style='text-decoration:underline'>Billy Bob Thornton</a> as Ed Crane, a humble barber who suspects his hard-hearted and hard-drinking wife Doris (<a href="/players/P____47305/default.aspx" style='text-decoration:underline'>Frances McDormand</a>) of having an affair with her boss (<a href="/players/P____25753/default.aspx" style='text-decoration:underline'>James Gandolfini</a>). When a jocular stranger (<a href="/players/P____57215/default.aspx" style='text-decoration:underline'>Jon Polito</a>) breezes into town hinting at the fortune to be made investing in an outlandish-sounding new invention called dry cleaning, Ed hatches a blackmail scheme he hopes will make him rich and get him some revenge at the same time. His plan goes horribly awry when he accidentally commits a murder for which Doris ends up being blamed, landing her in the slammer and Ed at the mercy of blowhard big-city lawyer Freddy Riedenschneider (<a href="/players/P____64745/default.aspx" style='text-decoration:underline'>Tony Shalhoub</a>). Filmed in black-and-white by three-time Oscar-nominated cinematographer <a href="/players/P____87281/default.aspx" style='text-decoration:underline'>Roger Deakins</a>, The Man Who Wasn't There was inspired by the seedy crime novels of James M. Cain, putting a distinctly Coen brothers' spin on the film noir tradition. Though spiked with their characteristic humor, its moody atmosphere hearkens back to the darker moments of <a href=/films/3698/default.aspx style='text-decoration:underline'>Blood Simple</a> and <a href=/films/93104/default.aspx style='text-decoration:underline'>Fargo</a> -- a marked departure from the high-spirited slapstick of O Brother Where Art Thou. ~ Tom Vick, All Movie Guide17Tag Target (>10)457113http://www.spout.com/ProductImages/t26712d54l8.jpghttp://www.spout.com/films/The_Man_Who_Wasn_t_There/192620/default.aspxFilm Spout Post: Re:Weekly Theme for January 12: What Went Wrong?? http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_January_12_What_Went_Wrong/625/39485/1/ShowPost.aspx

Post By: Smooth_J
Post To: Weekly Theme
Post Date: 1/13/2009 6:42:31 PM
Body: [quote user="leeroy711"] Sam Raimi used this in his very aptly titled A Simple Plan. And my favorite filmmakers, the Brothers Coen have used this beautifully in Blood Simple and Fargo. [/quote] I feel like most of the Coen's movies fit into this category...you got The Man Who Wasn't There, The Big Lebowski, Raising Arizona, and even No Country for Old Men. Bottle Rocket is a pretty good heist-gone-wrong movie, and it's about as simplistic as movies can get. It's one of my personal favorites. Another one that may work is Dog Day Afternoon...a routine bank robbery turns into a televised sideshow starring a gay Al Pacino.
]]>Tue, 13 Jan 2009 23:42:31 GMTSmooth_JWeekly Theme1/13/2009 6:42:31 PM[quote user="leeroy711"] Sam Raimi used this in his very aptly titled A Simple Plan. And my favorite filmmakers, the Brothers Coen have used this beautifully in Blood Simple and Fargo. [/quote] I feel like most of the Coen's movies fit into this category...you got The Man Who Wasn't There, The Big Lebowski, Raising Arizona, and even No Country for Old Men. Bottle Rocket is a pretty good heist-gone-wrong movie, and it's about as simplistic as movies can get. It's one of my personal favorites. Another one that may work is Dog Day Afternoon...a routine bank robbery turns into a televised sideshow starring a gay Al Pacino. Spout Post: Burn After Reading http://www.spout.com/blogs/captainryannn/archive/2008/12/4/37956.aspx

Post By: CaptainRyannn
Post To: CaptainRyannn Blog
Post Date: 12/4/2008 4:41:49 PM
Body: Well, let me start off by saying that I originally saw this two weeks ago and loved it. So I decided to go back and see it again. The Coen Brothers seem to have formed a pattern that has worked for them over the years. After putting out a serious film, the switch gears to a comedy one. Blood Simple brought Raising Arizona. Miller’s Crossing brought The Hudsucker Proxy. Fargro brought The Big Lebowski. The Man Who Wasn’t There brought Intolerable Cruelty and The Ladykillers (both of which kind of sucked.). Now, it is fitting that after their most acclaimed film, they up the ante for their newest comedy, Burn After Reading. With the zoom-in effect used to open the film, we are given the impression that something important is happening. Well, it is important in the sense that without it, we would not have a film. But it’s so trivial because of it’s cause. CIA agent Osbourne Cox (John Malkovich) gets demoted for too much drinking. We immediately get a glimpse into his hilarious character that is somewhat of an elitist. He gets to come home to his bitch-of-a-wife, Katie (Tilda Swinton) and decides to write some memoirs, or as Osbourne likes to call them, “mem-wah’s”. Well his darling Katie happens to be cheating on him with Harry Pfarrer (George Clooney) who is not only cheating on his wife (Patricia Clarkson) with Katie, but also the kind-hearted Linda Litzke (Frances McDomand). Confusing, I know. Well, in an attempt to ‘prepare’ for the divorce, Katie copies Cox’s financial as well as his memoirs. Through a couple of plain-forgetful actions, the disc containing these items is found on the floor of Hard Bodies, a gym that is run by Linda, Chad Feldheimer (Brad Pitt), and the well-mannered sensitive man, Ted (Richard Jenkins). Chad and Linda end up thinking that they really have something important and demand a ransom from Cox. Chaos and hilarity ensues as the term ‘making a mountain out of an anthill’ comes to life. But in this case, the anthill has actually become a mountain forged out of stupidity, infidelity, and murder.
]]>Thu, 04 Dec 2008 21:41:49 GMTCaptainRyannnCaptainRyannn Blog12/4/2008 4:41:49 PMWell, let me start off by saying that I originally saw this two weeks ago and loved it. So I decided to go back and see it again. The Coen Brothers seem to have formed a pattern that has worked for them over the years. After putting out a serious film, the switch gears to a comedy one. Blood Simple brought Raising Arizona. Miller’s Crossing brought The Hudsucker Proxy. Fargro brought The Big Lebowski. The Man Who Wasn’t There brought Intolerable Cruelty and The Ladykillers (both of which kind of sucked.). Now, it is fitting that after their most acclaimed film, they up the ante for their newest comedy, Burn After Reading. With the zoom-in effect used to open the film, we are given the impression that something important is happening. Well, it is important in the sense that without it, we would not have a film. But it’s so trivial because of it’s cause. CIA agent Osbourne Cox (John Malkovich) gets demoted for too much drinking. We immediately get a glimpse into his hilarious character that is somewhat of an elitist. He gets to come home to his bitch-of-a-wife, Katie (Tilda Swinton) and decides to write some memoirs, or as Osbourne likes to call them, “mem-wah’s”. Well his darling Katie happens to be cheating on him with Harry Pfarrer (George Clooney) who is not only cheating on his wife (Patricia Clarkson) with Katie, but also the kind-hearted Linda Litzke (Frances McDomand). Confusing, I know. Well, in an attempt to ‘prepare’ for the divorce, Katie copies Cox’s financial as well as his memoirs. Through a couple of plain-forgetful actions, the disc containing these items is found on the floor of Hard Bodies, a gym that is run by Linda, Chad Feldheimer (Brad Pitt), and the well-mannered sensitive man, Ted (Richard Jenkins). Chad and Linda end up thinking that they really have something important and demand a ransom from Cox. Chaos and hilarity ensues as the term ‘making a mountain out of an anthill’ comes to life. But in this case, the anthill has actually become a mountain forged out of stupidity, infidelity, and murder. Spout Post: Bad Movie Night http://www.spout.com/blogs/jimbell/archive/2008/9/30/35733.aspx

Post By: JimBell
Post To: JimBell Blog
Post Date: 9/30/2008 7:00:47 PM
Body: You know about a bad hair day; well, this was a bad movie night—three promising rentals, three disappointments. Although the period detail is excellent in The Man Who Wasn’t There (2001), the main character, played by Billy Bob Thornton, is too unrealistic in contrast to the other characters, who may be a bit off kilter but seem plausible. For example, early on, the protagonist and his wife entertain her boss and his wife for a painful dinner, the social interaction saying all that needs to be said. In contrast to this fine presentation of self in everyday life, our protagonist is so clinically depressed that the interaction involving him seems fakey because ordinarily people would not put up with his taciturn rudeness. Although I liked this film when I saw it several years ago, I’m no longer enamoured with it simply because it is film noirish. Flight of the Red Balloon (2007) begins with a worrisome scene: A boy is talking up into the air to a balloon which we cannot see, asking it to come home with him. This does not bode well for an interesting movie. Unfortunately, the cinematography makes things worse. As with the opening shot, the camera often focuses on only half the action. For example, if the young boy is playing the piano, the camera focuses on the new babysitter watching him. But the shot does not show enough facial expression to tell us anything. So we’re left staring at an impassive profile while the sound track plays piano scales badly. Maybe I should have watched Terrence Malick’s The New World (2005) all the way through, but during the first part I felt so preached at that I thought it would only get worse. The natives are fakey—fakey choreographed movements, fakey face paint, fakey handling of a prisoner, and on and on—totally unconvincing. The main white man, Captain John Smith is dull and, apparently, stupid. What’s he doing leaving his men and wandering off through the swamps in a suit of armour? It is symbolic, of course, and just more preaching.
]]>Tue, 30 Sep 2008 23:00:47 GMTJimBellJimBell Blog9/30/2008 7:00:47 PMYou know about a bad hair day; well, this was a bad movie night—three promising rentals, three disappointments. Although the period detail is excellent in The Man Who Wasn’t There (2001), the main character, played by Billy Bob Thornton, is too unrealistic in contrast to the other characters, who may be a bit off kilter but seem plausible. For example, early on, the protagonist and his wife entertain her boss and his wife for a painful dinner, the social interaction saying all that needs to be said. In contrast to this fine presentation of self in everyday life, our protagonist is so clinically depressed that the interaction involving him seems fakey because ordinarily people would not put up with his taciturn rudeness. Although I liked this film when I saw it several years ago, I’m no longer enamoured with it simply because it is film noirish. Flight of the Red Balloon (2007) begins with a worrisome scene: A boy is talking up into the air to a balloon which we cannot see, asking it to come home with him. This does not bode well for an interesting movie. Unfortunately, the cinematography makes things worse. As with the opening shot, the camera often focuses on only half the action. For example, if the young boy is playing the piano, the camera focuses on the new babysitter watching him. But the shot does not show enough facial expression to tell us anything. So we’re left staring at an impassive profile while the sound track plays piano scales badly. Maybe I should have watched Terrence Malick’s The New World (2005) all the way through, but during the first part I felt so preached at that I thought it would only get worse. The natives are fakey—fakey choreographed movements, fakey face paint, fakey handling of a prisoner, and on and on—totally unconvincing. The main white man, Captain John Smith is dull and, apparently, stupid. What’s he doing leaving his men and wandering off through the swamps in a suit of armour? It is symbolic, of course, and just more preaching. Spout Post: 10 Underappreciated Coen Bros. Actors http://www.spout.com/blogs/spoutblog/archive/2008/9/12/35065.aspx

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/12/2008 2:00:54 PM
Body: Everybody remembers the bigger name Coen Bros. regulars, such as John Turturro, Steve Buscemi, John Goodman, Frances McDormand, Billy Bob Thornton and now George Clooney. And of course, there are the one-shot stars, like Nicolas Cage, Gabriel Byrne, Jeff Bridges, William H. Macy, Catherine Zeta-Jones, Julianne Moore, Paul Newman, Albert Finney, Woody Harrelson, Tim Robbins and now Brad Pitt and John Malkovich. But who ever talks about Michael Lerner? He received an Oscar nomination for his supporting role in Barton Fink, yet he never seems to get the same kind of respect that Javier Bardem gets, and it’s not just because Bardem won the award for No Country for Old Men. With their new film, Burn After Reading, the Coens have again recast some lesser known character actors that I hope get the recognition they deserve. Both Richard Jenkins and J.K. Simmons have previously appeared in the Coens’ films, but each has seriously risen in notability since their last collaboration with the filmmakers. Hopefully, they’ll continue to be cast by the brothers. Obviously, all my favorite Coen Bros. actors can’t be in every Coen Bros. movie (especially since some of them are dead). And interestingly enough, the brothers’ next film, A Serious Man, is being cast with (so far) only actors they’ve never employed. So, I’d like to take a moment to acknowledge the less-recognized actors and actresses who have done tremendous work for Joel and Ethan, not so much in the hopes that they’ll be re-employed (some can’t be) but in the general interest of giving them some much-needed praise. Tony Shalhoub (Barton Fink; The Man Who Wasn’t There) At the rate he’s going with his Coens film appearances, he’s due for another role come 2011. And seeing as his hit TV series Monk may be in its final season, the guy is probably going to be available. I’ve highlighted his performance as the defense attorney Freddy Riedenschneider, from The Man Who Wasn’t There, above, but be sure to also take another look at his portrayal of movie producer Ben Geisler, from Barton Fink, which can also be seen on YouTube. Stephen Root (O Brother, Where Art Thou?; The Ladykillers; No Country for Old Men) I got so excited when I saw Root in No Country for Old Men, but he was again underutilized. After appearing in three of the Coens’ films, the actor best known for playing Milton in Office Space and Jimmy James on TV’s News Radio, is due for a more substantial role. In fact, he really needs to be getting better parts in general, not just in the works of the Coens. In the video above he can be seen as the blind character credited only as “Radio Station Man.” Jon Polito (Miller’s Crossing; Barton Fink; The Hudsucker Proxy; The Big Lebowski; The Man Who Wasn’t There) He’s been really great in five Coen Bros. films, so it’s a shame he’s not as well-known as Turturro or Buscemi. For some reason, only the Coens seem to employ him in worthwhile roles, and even they haven’t been able to give him as juicy a part as he had in Miller’s Crossing. He really shines here, and he’s got some memorable lines (”did somebody hit you?”; “always put one in the head”). In the selected scene, Polito opens the film with a monologue about ethics. I love it when he gets so angry that his whole bald head turns bright purple. For a great montage of his work, produced for his reception of a special award at the Cinequest San Jose Film Festival, check out this other clip, too. Philip Seymour Hoffman (The Big Lebowski) Obviously by including Hoffman on this list I don’t mean to claim he’s an underappreciated actor. He’s certainly recognized as one of the best we’ve got. But his bit work in The Big Lebowski often goes forgotten, despite it being yet another fine performance by Hoffman, even for such a minor role as the Big Lebowski’s assistant, Brandt. The Oscar-winner more recently worked with the Coens for a radio play titled “Sawbones,” but it would be great to see him work with the brothers again on camera. Trey Wilson (Raising Arizona) One of my favorite scenes in my favorite Coen Bros. movie (Raising Arizona) is the one in which the late, great Trey Wilson, as Nathan Arizona, gets extremely frustrated with the police investigating his son’s kidnapping (best line: “They were jammies. They had Yodas ‘n’ shit on ‘em!”). Wilson’s part isn’t huge, but he makes it seem like it is. And considering how many talented character actors appear in the film, it’s no small feat to deliver such a standout performance. Unfortunately, none of his scenes are separately available on YouTube, but the above clip is at least primarily the police investigation scene. M. Emmet Walsh (Blood Simple; Raising Arizona) I must confess something horrible: while compiling this list, I discovered that M. Emmet Walsh is alive. See, I’ve always confused him with J.T. Walsh, who died ten years ago. And when planning out this piece, it was constantly in my mind that I was featuring two deceased actors — Trey Wilson and M. Emmet. I guess it hasn’t helped my confusion that M.E. Walsh hasn’t really done much of worth in the decade since we lost J.T. (Roger Ebert’s “Stanton-Walsh Rule” was said to be broken after Walsh appeared in Wild Wild West). Anyway, I’m ecstatic that he’s still around, and my desire to celebrate his Coen Bros. roles isn’t changed one bit. In an even smaller part than Wilson’s, Walsh is also quite memorable in Raising Arizona as H.I.’s machine shop co-worker who won’t stop yapping (”… his sandwich in one hand, the fuckin’ head in the other…”). But it’s for his more prominent role in Blood Simple, as a scummy private dick, that the rarely leading actor should be remembered when he actually does pass on. I’m always astonished that after giving such a terrific performance in their debut, Walsh wasn’t utilized by the Coens more. Also, they probably should have worked again with Dan Hedaya, another great character actor who can be seen opposite Walsh in the selected clip from Blood Simple above. Michael Badalucco (Miller’s Crossing; O Brother, Where Art Thou?; The Man Who Wasn’t There) It was great seeing Badalucco cast in a major role for The Man Who Wasn’t There, but I get more excited over his short but recurring stint as George “Don’t Call Him Babyface” Nelson in O Brother. His portrayal of the in-and-out, seemingly bipolar bank robber, he’s like a regenerating firecracker, exploding then fizzling then later exploding again. I wish there were more of his scenes available online, but since his police chase bit seems only to be found in Italian, I’ve highlighted his final appearance in the film, which can be seen near the end of the above clip. William Forsythe (Raising Arizona) If you were to judge Forsythe based on just any random role, such as his FBI agent from last year’s 88 Minutes, you might accept him as simply a serviceable supporting actor, hardly someone to honor in even one-tenth of a list on a blog. But look at a more selective sampling of his work — specifically his performances in The Waterdance, Dick Tracy, Palookaville and Raising Arizona — and you’ll see that he has more range than he’s probably given credit for. While watching him as the rather simple-minded Evelle Snoats in Arizona, in fact, I often forget that he’s the same guy that was later reunited with Nicolas Cage (as a fellow FBI agent) in The Rock. Though he’s somewhat overshadowed by his onscreen big brother, played by John Goodman, he does get in a good amount of memorable lines and actions, as you can see in the clip above. John Carroll Lynch (Fargo) Norm Gunderson is such a thankless role, especially since it’s so overshadowed by the Oscar-winning performance by Frances McDormand as Marge Gunderson. But it came early in Lynch’s career, which is still not rising as fast as it maybe should be, and now it’s time for the understated yet often hilarious and/or creepy actor to properly appear in a more comedic Coen Bros. part. For lack of a precise clip, I’ve featured a montage reel of Lynch’s work, which includes one of his scenes from Fargo as well as some of his more showy roles, like his recurring cross-dressing character from The Drew Carrey Show. Another one of his scenes as Norm can also be found at the end of another montage reel specifically spotlighting his comedy work. Beth Grant (No Country for Old Men) You kind of want to hate her for how inadvertently awful her character is in No Country, but the Coen Bros. are too good at giving us such wonderfully irksome characters, like Glen (Sam McMurry) in Raising Arizona, Gaear (Peter Stormare) in Fargo and Homer Stokes (Wayne Duvall) in O Brother. And Grant is so good at delivering such delectably despicable performances that her part as Carla Jean’s mother left me wanting more. Considering the Coens rarely reuse previously employed actresses (McDormand is a constant probably more because she’s Joel’s wife than because she’s such a talent, and both Holly Hunter and Jennifer Jason Leigh have just barely been recast), it would be even more of a treat if they someday work with Grant again. Between the distinctness of her physical features and voice and her ability to be so nasty makes her a perfect candidate for future Coen Bros. movies. Because no clips of her in No Country could be found — plus most of her scenes would include spoilers anyway — I’ve showcased her other most memorable and hated character from Donnie Darko. Originally posted on:SpoutBlog
]]>Fri, 12 Sep 2008 18:00:54 GMTSpoutBlogSpoutBlog on spout.com9/12/2008 2:00:54 PM Everybody remembers the bigger name Coen Bros. regulars, such as John Turturro, Steve Buscemi, John Goodman, Frances McDormand, Billy Bob Thornton and now George Clooney. And of course, there are the one-shot stars, like Nicolas Cage, Gabriel Byrne, Jeff Bridges, William H. Macy, Catherine Zeta-Jones, Julianne Moore, Paul Newman, Albert Finney, Woody Harrelson, Tim Robbins and now Brad Pitt and John Malkovich. But who ever talks about Michael Lerner? He received an Oscar nomination for his supporting role in Barton Fink, yet he never seems to get the same kind of respect that Javier Bardem gets, and it’s not just because Bardem won the award for No Country for Old Men. With their new film, Burn After Reading, the Coens have again recast some lesser known character actors that I hope get the recognition they deserve. Both Richard Jenkins and J.K. Simmons have previously appeared in the Coens’ films, but each has seriously risen in notability since their last collaboration with the filmmakers. Hopefully, they’ll continue to be cast by the brothers. Obviously, all my favorite Coen Bros. actors can’t be in every Coen Bros. movie (especially since some of them are dead). And interestingly enough, the brothers’ next film, A Serious Man, is being cast with (so far) only actors they’ve never employed. So, I’d like to take a moment to acknowledge the less-recognized actors and actresses who have done tremendous work for Joel and Ethan, not so much in the hopes that they’ll be re-employed (some can’t be) but in the general interest of giving them some much-needed praise. Tony Shalhoub (Barton Fink; The Man Who Wasn’t There) At the rate he’s going with his Coens film appearances, he’s due for another role come 2011. And seeing as his hit TV series Monk may be in its final season, the guy is probably going to be available. I’ve highlighted his performance as the defense attorney Freddy Riedenschneider, from The Man Who Wasn’t There, above, but be sure to also take another look at his portrayal of movie producer Ben Geisler, from Barton Fink, which can also be seen on YouTube. Stephen Root (O Brother, Where Art Thou?; The Ladykillers; No Country for Old Men) I got so excited when I saw Root in No Country for Old Men, but he was again underutilized. After appearing in three of the Coens’ films, the actor best known for playing Milton in Office Space and Jimmy James on TV’s News Radio, is due for a more substantial role. In fact, he really needs to be getting better parts in general, not just in the works of the Coens. In the video above he can be seen as the blind character credited only as “Radio Station Man.” Jon Polito (Miller’s Crossing; Barton Fink; The Hudsucker Proxy; The Big Lebowski; The Man Who Wasn’t There) He’s been really great in five Coen Bros. films, so it’s a shame he’s not as well-known as Turturro or Buscemi. For some reason, only the Coens seem to employ him in worthwhile roles, and even they haven’t been able to give him as juicy a part as he had in Miller’s Crossing. He really shines here, and he’s got some memorable lines (”did somebody hit you?”; “always put one in the head”). In the selected scene, Polito opens the film with a monologue about ethics. I love it when he gets so angry that his whole bald head turns bright purple. For a great montage of his work, produced for his reception of a special award at the Cinequest San Jose Film Festival, check out this other clip, too. Philip Seymour Hoffman (The Big Lebowski) Obviously by including Hoffman on this list I don’t mean to claim he’s an underappreciated actor. He’s certainly recognized as one of the best we’ve got. But his bit work in The Big Lebowski often goes forgotten, despite it being yet another fine performance by Hoffman, even for such a minor role as the Big Lebowski’s assistant, Brandt. The Oscar-winner more recently worked with the Coens for a radio play titled “Sawbones,” but it would be great to see him work with the brothers again on camera. Trey Wilson (Raising Arizona) One of my favorite scenes in my favorite Coen Bros. movie (Raising Arizona) is the one in which the late, great Trey Wilson, as Nathan Arizona, gets extremely frustrated with the police investigating his son’s kidnapping (best line: “They were jammies. They had Yodas ‘n’ shit on ‘em!”). Wilson’s part isn’t huge, but he makes it seem like it is. And considering how many talented character actors appear in the film, it’s no small feat to deliver such a standout performance. Unfortunately, none of his scenes are separately available on YouTube, but the above clip is at least primarily the police investigation scene. M. Emmet Walsh (Blood Simple; Raising Arizona) I must confess something horrible: while compiling this list, I discovered that M. Emmet Walsh is alive. See, I’ve always confused him with J.T. Walsh, who died ten years ago. And when planning out this piece, it was constantly in my mind that I was featuring two deceased actors — Trey Wilson and M. Emmet. I guess it hasn’t helped my confusion that M.E. Walsh hasn’t really done much of worth in the decade since we lost J.T. (Roger Ebert’s “Stanton-Walsh Rule” was said to be broken after Walsh appeared in Wild Wild West). Anyway, I’m ecstatic that he’s still around, and my desire to celebrate his Coen Bros. roles isn’t changed one bit. In an even smaller part than Wilson’s, Walsh is also quite memorable in Raising Arizona as H.I.’s machine shop co-worker who won’t stop yapping (”… his sandwich in one hand, the fuckin’ head in the other…”). But it’s for his more prominent role in Blood Simple, as a scummy private dick, that the rarely leading actor should be remembered when he actually does pass on. I’m always astonished that after giving such a terrific performance in their debut, Walsh wasn’t utilized by the Coens more. Also, they probably should have worked again with Dan Hedaya, another great character actor who can be seen opposite Walsh in the selected clip from Blood Simple above. Michael Badalucco (Miller’s Crossing; O Brother, Where Art Thou?; The Man Who Wasn’t There) It was great seeing Badalucco cast in a major role for The Man Who Wasn’t There, but I get more excited over his short but recurring stint as George “Don’t Call Him Babyface” Nelson in O Brother. His portrayal of the in-and-out, seemingly bipolar bank robber, he’s like a regenerating firecracker, exploding then fizzling then later exploding again. I wish there were more of his scenes available online, but since his police chase bit seems only to be found in Italian, I’ve highlighted his final appearance in the film, which can be seen near the end of the above clip. William Forsythe (Raising Arizona) If you were to judge Forsythe based on just any random role, such as his FBI agent from last year’s 88 Minutes, you might accept him as simply a serviceable supporting actor, hardly someone to honor in even one-tenth of a list on a blog. But look at a more selective sampling of his work — specifically his performances in The Waterdance, Dick Tracy, Palookaville and Raising Arizona — and you’ll see that he has more range than he’s probably given credit for. While watching him as the rather simple-minded Evelle Snoats in Arizona, in fact, I often forget that he’s the same guy that was later reunited with Nicolas Cage (as a fellow FBI agent) in The Rock. Though he’s somewhat overshadowed by his onscreen big brother, played by John Goodman, he does get in a good amount of memorable lines and actions, as you can see in the clip above. John Carroll Lynch (Fargo) Norm Gunderson is such a thankless role, especially since it’s so overshadowed by the Oscar-winning performance by Frances McDormand as Marge Gunderson. But it came early in Lynch’s career, which is still not rising as fast as it maybe should be, and now it’s time for the understated yet often hilarious and/or creepy actor to properly appear in a more comedic Coen Bros. part. For lack of a precise clip, I’ve featured a montage reel of Lynch’s work, which includes one of his scenes from Fargo as well as some of his more showy roles, like his recurring cross-dressing character from The Drew Carrey Show. Another one of his scenes as Norm can also be found at the end of another montage reel specifically spotlighting his comedy work. Beth Grant (No Country for Old Men) You kind of want to hate her for how inadvertently awful her character is in No Country, but the Coen Bros. are too good at giving us such wonderfully irksome characters, like Glen (Sam McMurry) in Raising Arizona, Gaear (Peter Stormare) in Fargo and Homer Stokes (Wayne Duvall) in O Brother. And Grant is so good at delivering such delectably despicable performances that her part as Carla Jean’s mother left me wanting more. Considering the Coens rarely reuse previously employed actresses (McDormand is a constant probably more because she’s Joel’s wife than because she’s such a talent, and both Holly Hunter and Jennifer Jason Leigh have just barely been recast), it would be even more of a treat if they someday work with Grant again. Between the distinctness of her physical features and voice and her ability to be so nasty makes her a perfect candidate for future Coen Bros. movies. Because no clips of her in No Country could be found — plus most of her scenes would include spoilers anyway — I’ve showcased her other most memorable and hated character from Donnie Darko. Originally posted on:SpoutBlog Spout Post: The Man Who Wasn't There (2001, USA, The Coen Brothers) *** http://www.spout.com/blogs/cinemarian/archive/2008/5/13/28839.aspx

Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/13/2008 4:18:44 AM
Body: Have you ever heard the phrase "too clever by a half"? That's how I felt about The Man Who Wasn't There, an infuriating movie to review, and even harder to describe, especially if you haven't seen it. I can sort of describe the plot of the movie, but that's missing the point, since it's all the style, and dialogue, and references to other films. Lots and lots of references to other films. I say clever not in the pejorative sense that I use the word to describe my dreaded Clever Comedy genre. I mean it literally. Joel and Ethan Coen, who made at least four great movies and a few terrible ones, are obviously very witty, intelligent, and, well, clever. This is smart movie made by smart people, but I am not sure if it is anything else. On the surface, it is a subtle parody of the film noir genre, so subtle that I would guess that most people who have not seen a lot of the classics might think the movie was played for real and find it infuriating. Shot in black-and-white, it stars Billy Bob Thornton as Ed Craine, a low-key, chain smoking barber who discovers that his wife (Frances McDormand) is having an affair with her business partner, Big Dave (James Gandolfini). Around the same time a shady businessman (Jon Polito) interests Ed in a new business-dry cleaning. If Ed can provide $10,000, they might become rich in the new industry. Ed gets the money in a novel way- he writes an anonymous extortion letter to Big Dave, telling him that if he doesn't leave the money in a designated place, Ed will tell himself about the affair. Oh, and that's the first fifteen minuets. The movie is very, very subtle. Everything, from the violence, to the comedy, is shown an unemotional, laid back manner. Maybe that was the point, as Ed never seems to get very upset about anything, even though he tells us he does. But the movie doesn't add up to anything. There is a strange subplot about UFO's that doesn't go anywhere, and the ending just feels wrong. The movie is chuckle-funny, but there are no real wocka wocka moments. And in the end, the movie seem go anywhere or mean anything. I can't tell people not to see a movie this well conceived or thought out, but in the end that's all it is. It's like watching Hendrix playing scales- you're certainly impressed, but wouldn't you rather hear a rendition of "Purple Haze"? The Man Who Wasn't There (2001)
]]>Tue, 13 May 2008 08:18:44 GMTCinemaRianCinemaRian Blog5/13/2008 4:18:44 AMHave you ever heard the phrase "too clever by a half"? That's how I felt about The Man Who Wasn't There, an infuriating movie to review, and even harder to describe, especially if you haven't seen it. I can sort of describe the plot of the movie, but that's missing the point, since it's all the style, and dialogue, and references to other films. Lots and lots of references to other films. I say clever not in the pejorative sense that I use the word to describe my dreaded Clever Comedy genre. I mean it literally. Joel and Ethan Coen, who made at least four great movies and a few terrible ones, are obviously very witty, intelligent, and, well, clever. This is smart movie made by smart people, but I am not sure if it is anything else. On the surface, it is a subtle parody of the film noir genre, so subtle that I would guess that most people who have not seen a lot of the classics might think the movie was played for real and find it infuriating. Shot in black-and-white, it stars Billy Bob Thornton as Ed Craine, a low-key, chain smoking barber who discovers that his wife (Frances McDormand) is having an affair with her business partner, Big Dave (James Gandolfini). Around the same time a shady businessman (Jon Polito) interests Ed in a new business-dry cleaning. If Ed can provide $10,000, they might become rich in the new industry. Ed gets the money in a novel way- he writes an anonymous extortion letter to Big Dave, telling him that if he doesn't leave the money in a designated place, Ed will tell himself about the affair. Oh, and that's the first fifteen minuets. The movie is very, very subtle. Everything, from the violence, to the comedy, is shown an unemotional, laid back manner. Maybe that was the point, as Ed never seems to get very upset about anything, even though he tells us he does. But the movie doesn't add up to anything. There is a strange subplot about UFO's that doesn't go anywhere, and the ending just feels wrong. The movie is chuckle-funny, but there are no real wocka wocka moments. And in the end, the movie seem go anywhere or mean anything. I can't tell people not to see a movie this well conceived or thought out, but in the end that's all it is. It's like watching Hendrix playing scales- you're certainly impressed, but wouldn't you rather hear a rendition of "Purple Haze"? The Man Who Wasn't There (2001) Spout Post: Re:Re:No Country For Old Men / Top 5 Coen Bros. Scenes http://www.spout.com/groups/Filmspotting/Re_Re_No_Country_For_Old_Men_Top_5_Coen_Bros_Sc/304/27451/1/ShowPost.aspx

Post By: leeroy711
Post To: Filmspotting
Post Date: 4/18/2008 1:10:03 AM
Body: [quote user="indieabby88"][quote user="secondcitywolverine"]Right now I would say "The Lookout" is the best film of 2007 so far with "No Country For Old Men" directly behind.[/quote]I've been hearing people say good things about "The Lookout," and I'm not really sure why. When I went to see it, I was pretty disappointed. I'm trying to remember what it was about the movie I didn't like. I seem to remember the plot moving too slowly for me. Maybe I'm just impatient, and there was something going on that I just didn't get. I dunno.My top Coen Bros. scenes:-The ferret in the bathtub scene from "The Big Lebowski"-The "summer rain" scene from "O Brother"-The first scene with the apocalyptic bounty hunter in "Raising Arizona"-The wood chipper scene in "Fargo" (for some reason I just can't get over the image of Steve Buschemi's foot sticking out of that thing. It gave me awesome shivers.)-The bowling dream sequence from "Lebowski." [/quote] Great list, I also must add a few-The "look into your heart scene" in Millers Crossing. Completely unforgettable.-The car accident in The Man Who Wasn't There.-The John Goodman transformation at the end of Barton Fink
]]>Fri, 18 Apr 2008 05:10:03 GMTleeroy711Filmspotting4/18/2008 1:10:03 AM[quote user="indieabby88"][quote user="secondcitywolverine"]Right now I would say "The Lookout" is the best film of 2007 so far with "No Country For Old Men" directly behind.[/quote]I've been hearing people say good things about "The Lookout," and I'm not really sure why. When I went to see it, I was pretty disappointed. I'm trying to remember what it was about the movie I didn't like. I seem to remember the plot moving too slowly for me. Maybe I'm just impatient, and there was something going on that I just didn't get. I dunno.My top Coen Bros. scenes:-The ferret in the bathtub scene from "The Big Lebowski"-The "summer rain" scene from "O Brother"-The first scene with the apocalyptic bounty hunter in "Raising Arizona"-The wood chipper scene in "Fargo" (for some reason I just can't get over the image of Steve Buschemi's foot sticking out of that thing. It gave me awesome shivers.)-The bowling dream sequence from "Lebowski." [/quote] Great list, I also must add a few-The "look into your heart scene" in Millers Crossing. Completely unforgettable.-The car accident in The Man Who Wasn't There.-The John Goodman transformation at the end of Barton Fink Spout Post: Re:Top 5 black and white movies made after 1970 http://www.spout.com/groups/Top_5/Re_Top_5_black_and_white_movies_made_after_1970/190/26750/1/ShowPost.aspx

Post By: Smooth_J
Post To: Top 5
Post Date: 3/29/2008 7:25:19 PM
Body: My picks...1. The Man Who Wasn't There2. Pi3. Schindler's List4. Good Night, and Good Luck.5. Sin CityPretty conventional, but I've still got a lot to see...and I would also like to add Memento to that list, but that's really only half in black and white, so it doesn't really count completely I guess.
]]>Sat, 29 Mar 2008 23:25:19 GMTSmooth_JTop 53/29/2008 7:25:19 PMMy picks...1. The Man Who Wasn't There2. Pi3. Schindler's List4. Good Night, and Good Luck.5. Sin CityPretty conventional, but I've still got a lot to see...and I would also like to add Memento to that list, but that's really only half in black and white, so it doesn't really count completely I guess. Spout Post: Part dos http://www.spout.com/blogs/smooth_j/archive/2008/3/29/26744.aspx

Post By: Smooth_J
Post To: Smooth_J Blog
Post Date: 3/29/2008 1:10:21 PM
Body: …of my list. I’m keeping the blurbs short on this one. 11. The Godfather Part 1 & 2 As close to perfect as films get. There is not much to be said about these films that hasn’t already been said. Completely timeless classics. 12. The Fisher King Another great Gilliam film. Robin William’s performance is amazing, as are Jeff Bridge’s and Mercedes Ruehl’s. The emotional power of this movie is phenomenal. 13. Children of Men Cuaron’s bleak vision of the future is excellently original. It is a poignant, provocative, and disturbing masterpiece. 14. The Departed I know it’s a little bit sloppy, but it’s just so fricken cool. The superb performances by the entire cast perfectly portray Monahan’s razor sharp script. 15. The Lord of the Rings Trilogy Peter Jackson perfectly adapted Tolkien’s classic series and created a few of the most breathtaking movies ever put on film. 16. The Proposition Easily my favorite western. Nick Cave’s poetic score and script along with John Hillcoat’s desolately beautiful direction makes this film unlike anything I have ever seen before. 17. The Truman Show This is such a great movie. It is awesome as both a commentary on our media driven culture and as an uplifting human story. 18. The Big Lebowski/The Man Who Wasn’t There I grouped these together, as they’re both Coen Brothers neo-noir masterworks. The Dude is one of the greatest characters ever created, and the latter film is an obscenely underrated work of art. 19. Once Upon a Time in the West While The Man With No Name Trilogy may be regarded as Leone’s greatest work, I firmly believe that this film outshines those films in almost every way. A starkly poetic western. 20. There Will Be Blood Destined to become a classic of cinema. It is an outstanding portrait of American greed and ambition, an absolute masterpiece. And I still believe that Anderson’s best is yet to come.
]]>Sat, 29 Mar 2008 17:10:21 GMTSmooth_JSmooth_J Blog3/29/2008 1:10:21 PM…of my list. I’m keeping the blurbs short on this one. 11. The Godfather Part 1 & 2 As close to perfect as films get. There is not much to be said about these films that hasn’t already been said. Completely timeless classics. 12. The Fisher King Another great Gilliam film. Robin William’s performance is amazing, as are Jeff Bridge’s and Mercedes Ruehl’s. The emotional power of this movie is phenomenal. 13. Children of Men Cuaron’s bleak vision of the future is excellently original. It is a poignant, provocative, and disturbing masterpiece. 14. The Departed I know it’s a little bit sloppy, but it’s just so fricken cool. The superb performances by the entire cast perfectly portray Monahan’s razor sharp script. 15. The Lord of the Rings Trilogy Peter Jackson perfectly adapted Tolkien’s classic series and created a few of the most breathtaking movies ever put on film. 16. The Proposition Easily my favorite western. Nick Cave’s poetic score and script along with John Hillcoat’s desolately beautiful direction makes this film unlike anything I have ever seen before. 17. The Truman Show This is such a great movie. It is awesome as both a commentary on our media driven culture and as an uplifting human story. 18. The Big Lebowski/The Man Who Wasn’t There I grouped these together, as they’re both Coen Brothers neo-noir masterworks. The Dude is one of the greatest characters ever created, and the latter film is an obscenely underrated work of art. 19. Once Upon a Time in the West While The Man With No Name Trilogy may be regarded as Leone’s greatest work, I firmly believe that this film outshines those films in almost every way. A starkly poetic western. 20. There Will Be Blood Destined to become a classic of cinema. It is an outstanding portrait of American greed and ambition, an absolute masterpiece. And I still believe that Anderson’s best is yet to come. Spout Post: Re:Top 5 black and white movies made after 1970 http://www.spout.com/groups/Top_5/Re_Top_5_black_and_white_movies_made_after_1970/190/26138/1/ShowPost.aspx

Post By: leeroy711
Post To: Top 5
Post Date: 3/12/2008 4:32:49 PM
Body: 1. Schindler's List It may be cliche but I still think this may be the greatest film ever made. 2. PiThe first Aronofsky film and it's better every time I watch it 3. The Man Who Wasn't ThereThe Coen brothers with cinematographer Roger Deakins proved b&w can have some of the most beutiful shots ever 4. The Elephant ManThe only Lynch film I ever fell in love with 5. Ed Wood and Good Night & Good Luck tie I could probably tie several more with 5th place but these are the ones that seem to stick out in my mind.
]]>Wed, 12 Mar 2008 20:32:49 GMTleeroy711Top 53/12/2008 4:32:49 PM1. Schindler's List It may be cliche but I still think this may be the greatest film ever made. 2. PiThe first Aronofsky film and it's better every time I watch it 3. The Man Who Wasn't ThereThe Coen brothers with cinematographer Roger Deakins proved b&w can have some of the most beutiful shots ever 4. The Elephant ManThe only Lynch film I ever fell in love with 5. Ed Wood and Good Night & Good Luck tie I could probably tie several more with 5th place but these are the ones that seem to stick out in my mind. Spout Post: Top 50 - # 3 - The Man Who Wasn't There http://www.spout.com/blogs/sarcastig/archive/2007/10/18/20911.aspx

Post By: sarcastig
Post To: As cool as a Fruitstand
Post Date: 10/18/2007 3:37:11 PM
Body: Finally then! Craig was right again.One of the best cinematic experiences I've ever had was watching The Man Who Wasn't There on the big screen, 4 years after it came out, and after two or three viewings on DVD. Roger Deakins' own print was being shown, and the man himself was in attendance. I've never seen black and white more glorious, more crisp but at the same time also oddly warm, and this screening is when my love for this film turned to adoration.Deakins also did a Q&A afterwards. I didn't really understand half of the Q's and three quarters or the A's due to all the technical lingo, but I sat there fascinated anyway because he spoke with such enthusiasm about his craft. He was impressively modest. It wasn't any sort of false humility: he knows he's good at what he does. He clearly sees what he does as a craft though, something you need some talent for but mostly a lot of experience, and there was not an ounce of pretentiousness to detect. I really think he's on the best cinematographers working today, and it's ridiculous that he has yet to win an Oscar (he was nominated 5 times, but never got to take home that statuette).There's much more, of course, than just the cinematography. One of its greatest assets is Billy Bob Thornton as Ed Crane, the barber who rarely speaks except in his voice-over. He's the ultimate noir protagonist: essentially good, well, not evil, but cursed by his one flaw, which ironically enough is ambition.Ambition? You wouldn't say it from the way he flatly says "Me? I don't talk much. I just cut the hair", but there is a spark there. He doesn't want much, but he does want a little bit more. Just a bit of independence, a bit more than just cutting the hair. An escape: something undetermined, unplanned.There are too many great moments to mention. Ed shaving his wife's legs, carefully, then his legs getting shaved later on. The murder scene. The Riedenschneider speech, and the shadows of the bars. The UFO's. But the two that resonate most with me have to do with Birdie, played by Scarlett Johanssen before she got all glamorous. The first is when Ed's brought her to a fancy piano teacher. He asks him "How did she do?" and the piano teacher answers:"She seemed like a very nice girl. She plays, monsieur, like a very nice girl. Stinks. Nice girl. However: stinks."It's a crushing moment, and Thornton underplays it beautifully. Later, in the car, Birdie calls him an enthusiast, and it's an assessment both ridiculous and strangely accurate. He is an enthusiast, even if he never betrays any emotion more acute than slight surprise, he is someone who likes things in a quiet, but unwavering way.Or maybe I'm just reading things into him, because above all else, Thornton's Ed is a blank slate, someone everyone projects their own idea upon, like you can see images in clouds, or in the billowing smoke that comes from Ed's permanent cigarette. To his wife he's the reliable dud she married. To her brother he's a pillar of strength and a listening ear. To her lover he's harmless, an innocent. To Birdie he's a strange sort of sugar daddy, to the wonderfully named Creighton Tolliver he's a mark. Most memorably, to Riedenschneider, he's nothing less than "the modern man"."What kind of man are you?" Big Dave asks, repeatedly. What kind of man is he? The kind you can make an endlessly fascinating film about.Next up... a movie which ends memorably, with both main characters saying..."Okay" Originally posted on:sarcastig's blog
]]>Thu, 18 Oct 2007 19:37:11 GMTsarcastigAs cool as a Fruitstand10/18/2007 3:37:11 PMFinally then! Craig was right again.One of the best cinematic experiences I've ever had was watching The Man Who Wasn't There on the big screen, 4 years after it came out, and after two or three viewings on DVD. Roger Deakins' own print was being shown, and the man himself was in attendance. I've never seen black and white more glorious, more crisp but at the same time also oddly warm, and this screening is when my love for this film turned to adoration.Deakins also did a Q&A afterwards. I didn't really understand half of the Q's and three quarters or the A's due to all the technical lingo, but I sat there fascinated anyway because he spoke with such enthusiasm about his craft. He was impressively modest. It wasn't any sort of false humility: he knows he's good at what he does. He clearly sees what he does as a craft though, something you need some talent for but mostly a lot of experience, and there was not an ounce of pretentiousness to detect. I really think he's on the best cinematographers working today, and it's ridiculous that he has yet to win an Oscar (he was nominated 5 times, but never got to take home that statuette).There's much more, of course, than just the cinematography. One of its greatest assets is Billy Bob Thornton as Ed Crane, the barber who rarely speaks except in his voice-over. He's the ultimate noir protagonist: essentially good, well, not evil, but cursed by his one flaw, which ironically enough is ambition.Ambition? You wouldn't say it from the way he flatly says "Me? I don't talk much. I just cut the hair", but there is a spark there. He doesn't want much, but he does want a little bit more. Just a bit of independence, a bit more than just cutting the hair. An escape: something undetermined, unplanned.There are too many great moments to mention. Ed shaving his wife's legs, carefully, then his legs getting shaved later on. The murder scene. The Riedenschneider speech, and the shadows of the bars. The UFO's. But the two that resonate most with me have to do with Birdie, played by Scarlett Johanssen before she got all glamorous. The first is when Ed's brought her to a fancy piano teacher. He asks him "How did she do?" and the piano teacher answers:"She seemed like a very nice girl. She plays, monsieur, like a very nice girl. Stinks. Nice girl. However: stinks."It's a crushing moment, and Thornton underplays it beautifully. Later, in the car, Birdie calls him an enthusiast, and it's an assessment both ridiculous and strangely accurate. He is an enthusiast, even if he never betrays any emotion more acute than slight surprise, he is someone who likes things in a quiet, but unwavering way.Or maybe I'm just reading things into him, because above all else, Thornton's Ed is a blank slate, someone everyone projects their own idea upon, like you can see images in clouds, or in the billowing smoke that comes from Ed's permanent cigarette. To his wife he's the reliable dud she married. To her brother he's a pillar of strength and a listening ear. To her lover he's harmless, an innocent. To Birdie he's a strange sort of sugar daddy, to the wonderfully named Creighton Tolliver he's a mark. Most memorably, to Riedenschneider, he's nothing less than "the modern man"."What kind of man are you?" Big Dave asks, repeatedly. What kind of man is he? The kind you can make an endlessly fascinating film about.Next up... a movie which ends memorably, with both main characters saying..."Okay" Originally posted on:sarcastig's blog Spout Tag:murder http://www.spout.com/members/0/tags/murder/MemberTagFilms.aspxmurder
Number of films tagged: 8748

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]]>Sun, 20 Dec 2009 18:42:29 GMT8748157831Tag Spout Tag:mystery http://www.spout.com/members/0/tags/mystery/MemberTagFilms.aspxmystery
Number of films tagged: 156

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]]>Wed, 16 Dec 2009 19:01:30 GMT15682208Tag Spout Tag:intense http://www.spout.com/members/0/tags/intense/MemberTagFilms.aspxintense
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]]>Mon, 12 Oct 2009 04:07:45 GMT16281249Tag Spout Tag:noir http://www.spout.com/members/0/tags/noir/MemberTagFilms.aspxnoir
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]]>Tue, 15 Sep 2009 14:23:43 GMT7767134Tag Spout Tag:blackmail http://www.spout.com/members/0/tags/blackmail/MemberTagFilms.aspxblackmail
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]]>Tue, 08 Sep 2009 19:51:08 GMT10062338Tag Spout Tag:extramaritalaffair http://www.spout.com/members/0/tags/extramaritalaffair/MemberTagFilms.aspxextramaritalaffair
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]]>Thu, 09 Jul 2009 13:13:22 GMT31211831Tag Spout Tag:underwater http://www.spout.com/members/0/tags/underwater/MemberTagFilms.aspxunderwater
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]]>Fri, 12 Jun 2009 13:02:35 GMT2101519Tag Spout Tag:cinematography http://www.spout.com/members/0/tags/cinematography/MemberTagFilms.aspxcinematography
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]]>Mon, 02 Feb 2009 17:50:07 GMT551433Tag Spout Tag:coenbrothers http://www.spout.com/members/0/tags/coenbrothers/MemberTagFilms.aspxcoenbrothers
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]]>Fri, 20 Feb 2009 20:04:00 GMT131228Tag Spout Tag:coen http://www.spout.com/members/0/tags/coen/MemberTagFilms.aspxcoen
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]]>Sun, 22 Jul 2007 19:50:27 GMT13921Tag Spout Tag:falseaccusation http://www.spout.com/members/0/tags/falseaccusation/MemberTagFilms.aspxfalseaccusation
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]]>Tue, 28 Jul 2009 13:02:37 GMT2361810Tag Spout Tag:pianist http://www.spout.com/members/0/tags/pianist/MemberTagFilms.aspxpianist
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]]>Tue, 28 Apr 2009 13:07:10 GMT40988Tag Spout Tag:barbershop http://www.spout.com/members/0/tags/barbershop/MemberTagFilms.aspxbarbershop
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]]>Sat, 26 Jul 2008 16:20:13 GMT1844Tag Spout Tag:blackwhite http://www.spout.com/members/0/tags/blackwhite/MemberTagFilms.aspxblackwhite
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]]>Fri, 29 Feb 2008 21:12:49 GMT535Tag Spout Tag:embezzlement http://www.spout.com/members/0/tags/embezzlement/MemberTagFilms.aspxembezzlement
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