reiher@ucla-cs.UUCP (03/02/85)
I hope that those of you who have been reading my reviews
will agree that I don't tend to be overly enthusiastic about most
movies. I try to keep a film's achievements in perspective.
Keeping this in mind, here is my advice about "Blood Simple":
whatever your plans are, drop them. Whatever was supposed to get
done, postpone it. Whoever you promised something, fob them off
with the best excuse you can think of. In fact, stop reading
this review, log out, and proceed immediately to see "Blood Sim-
ple". Don't let small considerations like ticket prices, several
hour drives, or the difficulty of getting babysitters deter you.
See this movie at once.
Most of you may be unable to follow this advice immediately,
as I suspect that "Blood Simple" is playing only in Los Angeles
and maybe New York. In that case, I suppose you'll have to wait
until it opens somewhere near you; you have my profound sympathy.
But whatever you do, don't forget this movie!
For those still with me, a few words about "Blood Simple".
It is an independently made film directed by Joel Coen and pro-
duced by his brother Ethan. The two of them also wrote the
screenplay. "Blood Simple" is a film noire, but with far more
humor than is expected from that genre. The story concerns a
woman leaving her jealous husband, the employee of her husband's
she runs away with, and a sleazy private detective. To say any
more would ruin at least some of the fun. Suffice it to say that
the plot twists and turns like a snake and is unpredictable from
start to end.
Just what category to fit "Blood Simple" into is difficult
to say. The film generates incredible suspense, but also has
some hilarious moments. It can't truly be called a comedy,
though, not even a black one, as its view of the world, presented
in a Texan microcosm, is so nasty. There's a lot of blood and
some very gory moments, but it certainly isn't a slasher film.
"Blood Simple" is a true original. I've seen a lot of films, but
I've never seen anything like it.
The script is excellent, but the real accolades must go to
Joel Coen. I'll go way out on a limb and say that "Blood Simple"
is the most promising American directorial debut since "Citizen
Kane". Coen is unbelievably proficient with the camera. He
knows precisely how to stage a shot for maximum impact, more im-
pact than less imaginative folks (like me) would ever have
dreamed possible. The editing is beautifully tight, and the edi-
tor certainly deserves much credit, as does Barry Sonnenfeld, the
cinematographer, who delivers the best looking low budget Ameri-
can film I've ever seen. None the less, Coen obviously deserves
the lion's share of the credit. The cinematographer and editor
were merely talented assistants; Coen's was the inspiration.
Coen's virtuosity with the camera is incredible, rivaling
such masters as Hitchcock and Welles, and yet it is also stun-
ningly original. Unlike DePalma, Coen doesn't try to imitate
Hitchcock's camera style, and yet his results are far and away
better than DePalma's. In fact, DePalma might as well give up on
being the heir apparent to Hitchcock as master of suspense. With
one film, Joel Coen effortlessly snatches the title that DePalma
couldn't touch with half a dozen pictures and total budgets over
100 times that of "Blood Simple". "Blood Simple" isn't a film
that Hitchcock could ever have made, but he surely would have
loved it.
What's even more astonishing is that Coen can not only shoot
suspense, he can also shoot comedy. Coen actually succeeds in
getting a big laugh just with a camera move! No funny props in
the shot, no punch line, no mugging or slapstick in the back-
ground, just the camera move! This guy is *good*.
Complementing the superlative direction and first rate
technical work (and an eerie, effective score from Carter
Burwell) are excellent performances. The Coen brothers cast no
name stars in "Blood Simple", partially because of budget, but
also because it gives the audience no handle on who is the "good
guy". Many of the faces are a little familiar, but none are so
familiar that we feel sure that they may not be disposed of in
the next frame. We never know who's safe, which heightens the
suspense. John Getz, Frances McDormand, Dan Hedaya, and Samm-Art
Williams are all wonderful in their roles, but the real honors go
to M. Emmet Walsh, as the private eye. Walsh has made a career
playing slimy, dishonest country types, but this is his master-
piece. We never doubt that his character is both capable and
willing to do anything for money, no matter how nasty, undisturbed
by the least suggestion of a scruple.
In my opinion, "Blood Simple" is the best new American film
I've seen in the 80s, and for a considerable stretch back into
the 70s. It certainly blows any of this year's Acadamy Award
nominees off the screen. I recommend it for all adults. (I
wouldn't want to admit to my children, if I had any, that the
adult world can be quite as treacherous and rotten as "Blood Sim-
ple" demonstrates, even if it is true.) Those who dislike large
quantities of blood and explicit violence may have some bad mo-
ments at "Blood Simple", but it will be worth it. The gore of
"Blood Simple" is not gratuitous. Every drop of blood, every
bullet, every sinister sharp object and blunt instrument has a
precise purpose, and the film would be less without them.
I expect that some people will disagree with me on this
film, especially those who think of films like "Tootsie" and
"Kramer vs. Kramer" as the pinnacle of cinematic achievement
("and in such good taste, too, don't you think so, Buffy?").
Some people like only tame films, which won't jump out and bite
you with originality. Well, "Blood Simple" will leave you with
more toothmarks than wrestling with a tiger, but the wounds won't
be mortal and they'll certainly wake you up. Put in simplest
terms, "Blood Simple" must not be missed.
--
Peter Reiher
reiher@ucla-cs.arpa
{...ihnp4,ucbvax,sdcrdcf}!ucla-cs!reiher