The Man Who Wasn't There

The Man Who Wasn't There is the Coen brothers' take on film noir, but like all of their work, it takes its inspiration in odd new directions. Because of its dedication to the filming style of older movies, matching the same sense of pace and a lot of the standards of where to point and focus the camera, it looks very old fashioned. You can still tell it's a more recent film though, even without the recognizable collection of excellent actors and Coen veterans that make up the cast, because there's just something weird about it. They're well known for the frequent nihilism of their plots, and Billy Bob Thornton's Ed Crane is so far into this mode that the film's been compared to The Stranger by Albert Camus, the ultimate existentialist novel.

The story starts like a lot of noir plots that go wrong in a hurry, with a relatively benign criminal scam. Crane is a barber, and he suspects that his wife, played by Frances McDormand, is sleeping with her boss, performed by James Gandolfini. After a customer tells him about his scheme to get rich with a new idea known as dry cleaning, Crane decides to make some money, and maybe get even while he's at it (although he really seems like he doesn't care that much about the affair), so he anonymously blackmails Gandolfini into leaving him the money to keep quiet. As expected though, things go very wrong, and people start dropping dead. Some bits are more predictable than others, but they do a good job of keeping things interesting, and things get a lot weirder after a certain point, eventually culminating in an ending that sort of feels like a fever dream that's actually happening.

It's an interesting story propped up further by the stellar look of the film (it was actually filmed in color and converted later to a beautiful black and white) and the outstanding performances by everyone involved. A lot of actors doing disaffected can just come off bored, but Thornton has mastered the art form. You really get inside his head and see what he does and doesn't care about (mostly he doesn't, you get the feeling that he truly doesn't mind the adultery and just tries the blackmail because he thinks it will work) with him having to say very little outside the narration. Gandolfini has to convey a lot of moods in not very many scenes and does it well, McDormand is just right for what the Coens are doing as usual, and Tony Shalhoub's lawyer is the perfect scumbag opportunist. Richard Jenkins and Scarlett Johannson are a father and daughter that don't have a lot of screen time, but Jenkins is excellent as a weary drunk and Johannson plays well off Thornton as the one thing he seriously seems concerned with. There are a lot of Coen trademarks, such as sudden and shocking bursts of violence and using similar imagery for scene transitions, but in some ways it's also unique for them, more restrained than usual and dedicated to matching the style they were after. They're still my favorite filmmakers, and this is one of their most intriguing projects.

Characters of the Decade: Part 1

I already have lists for my favorite things of the decade in each category archived on the site, but I decided to do something a bit different for a feature. The most important thing to a good story is interesting characters, and sometimes they're better realized than usual. Characters are often what we remember most about something, and I thought I'd recognize that with a list of the best. These aren't exactly my favorites in each case - I tried to stick with ones that stick out in some really important way even if they didn't totally resonate with me. Any number of things could have gotten a character here; being a great villain, a powerhouse lead performance, launching someone's career, or just making something worth watching. I narrowed it down to 60, which was made easier by trying to limit myself to one character per work where possible. The list is a bit TV heavy since they have more time to develop a personality, and it leans towards white males more than I would have liked, but I still think it's a good list of people (and some robots) that were fascinating to watch. It's ordered chronologically by first appearance, with characters that originated before the decade began placed at the first point they became relevant again.

Eric Cartman
Trey Parker - South Park


"Nananananana! I made you eat your parents!"

The moment above will forever live in infamy, but it's just one of many great ones in the life of Cartman, the world's worst child. He's one of those rare characters that's a completely irredeemable asshole that you still love because his schemes and insults are just so entertaining and unforgettable. And he gets his comeuppance often enough that he's allowed to keep being such a bigoted little jerk.

Tony Soprano
James Gandolfini - The Sopranos


"Anybody else would've had their fuckin' intervention right through the back of their head."

The star of one of television's most important shows, Gandolfini is notable for standing out despite the amazingly strong and deep supporting cast around him. He's part imperfect family man, part ruthless mob boss, and part just another troubled guy who isn't totally sure of himself. One of the most evil men to ever be rooted for, and that's mostly because his insecurities are presented just as effectively as his strengths and ill deeds.

Bender
John DiMaggio - Futurama


"Goodbye losers, whom I've always hated!"

I could have easily put Fry or Professor Farnsworth here, but Bender is the character that defines the whole show. He's the robot who drinks because alcohol fuels his system and smokes because it makes him look cool. Once in a while he gets a bit too lowest-common-denominator, but his narcissism is inspiring and he's the robot friend we all wish we had.

Tyrion Lannister
A Song of Ice and Fire series


"Those are brave men. Let's go kill them."

It's almost insane how many characters George R. R. Martin has managed to develop into genuinely fascinating people, but if one sticks out it's the smallest of the bunch, the Lion of Lannister. The whole series thrives off making its central conflict more interesting by not allowing you to want any one side to totally win, and Tyrion was the first time we saw that. Watching the wheels turn in his head as he tries to do his best with the cards he's dealt is endlessly enjoyable, and hopefully Martin finishes up the fifth book first so we can see what he's up to.

Captain Hank Murphy
Harry Goz - Sealab 2021


"But the secret ingredient is love. Damn it."

Voice actor Harry Goz unfortunately passed away while Sealab was still airing, and while I was still able to enjoy it afterward, it was never quite the same, which speaks to how good he was. As the driving force behind most of the plots, his unique brand of insane leadership paved the way for many bizarre Adult Swim shows to come. Every character on the show had their time to shine, but none provided laughs more than Murphy.

Master Shake
Dana Snyder - Aqua Teen Hunger Force


"I mean, is he gonna be able to chase us? Cause if I woke up looking like that, I would just run towards the nearest living thing and kill it."

You know a character lives off the actor's performance when it's as hard as it was to find a good quote that stands without context even though he provides laughs constantly. Snyder is probably the best voice actor to work repeatedly with Adult Swim, and this is the role that gave him a chance to shine. There's just so much humor laced in every syllable that comes out of Shake's mouth, and even if that week's gimmick plot is lame it'll probably be worth watching just for his next zinger.

GIR
Rikki Simmons - Invader Zim


"It's me! I was the turkey all along!"

Possibly the only character that can get away with just saying random crap all day, thanks to Simmons' fine voice work and his unending supply of adorableness. GIR is one of those animated characters who's fun just to watch do anything, and he's at that right level of idiocy that you have to wonder if he's actually just messing with Zim and the audience some of the time.

Nate Fisher Jr.
Peter Krause - Six Feet Under


"Everything's bad for something."

Nate's as flawed a person as there will be on this list, and that's part of why he works. He's just a human being worried about his mortality and trying to figure out what he really wants to do with his life. His story is a tragic one, but watching it play out made for some of the decade's best personal drama. Plus, watching him yell at stupid people is funny.

Gareth Keenan
Mackenzie Crook - The Office (UK)


"I told him once that I don't like jelly. I don't trust the way it moves."

It's hard to pin down with is Gareth's most hilarious feature. I love his supposed hardened military background despite his ridiculous, gaunt physique. I love his very unfortunate combination of overconfidence and ineptitude with women. I love the overly serious way he deals with the politics of working at a small branch of a paper company. One of the few characters I prefer to the US version's equivalent, and that's despite that equivalent also being on this list.

Dr. Perry Cox
John C. McGinley - Scrubs


“Jordan…the boy already lip-syncs into your tampons, must we put a final nail in his tiny gay coffin?”

Despite this being the ninth year of Dr. Cox being on the air ranting and raving, I'm still not tired of it. McGinley never broke out beyond a few small film roles, but every week he's good for a few solid put downs and probably at least one epically vicious dissection of why whoever he's yelling at is a bad doctor. But there's enough variety, creativity, and humor there that you never feel he's being too mean. At his heart, he's a good doctor who's trying to make others around him better at their job, and that's why he gets away with it.

Jack Bauer
Kiefer Sutherland - 24


"I don't care how it's interpreted from the outside. I just gave you an order and I'd like you to follow it."

The only character I know of who deserves - nay, requires a website to keep track of all of his kills in the line of duty. However you feel about torture, it's hard to be upset with Jack for doing what he thinks he needs to do to save America because he puts up with so much crap and never asks for anything in return. Also, it's just a TV show. His actions definitely speak louder than his words, but he's had his share of resonant emotional moments too. He's why I keep coming back despite the series' declining quality.

Gandalf
Ian McKellen - The Lord of the Rings series


"A wizard is never late, Frodo Baggins, nor is he early. He arrives precisely when he means to."

Maybe the greatest action hero who's also an old man in film history. Gandalf was always the most interesting character in the books, and that held true in the movies as well. It's actually sort of two roles, as the wise and resourceful but fallible Gandalf the Grey at first and later as the powerful but justifiably aloof Gandalf the White. Kind and caring, but terrifying when he needs to be. He's basically what you wish your grandfather was like.

Continued tomorrow.

The Sopranos - Season 6

This is the last season of The Sopranos, and also by far the longest. There was a long break after twelve episodes, and then they wrapped it up with another nine. To be honest, for a while, the show didn't feel like it was ending soon. It's hard to say a show so unafraid of killing characters off has a real formula, but as long as they kept pumping fresh blood in and keep the core cast together, the show could have gone on a lot longer. That was never the goal though. It's the story of Tony Soprano, and season six wraps it up while staying true to the original spirit. The beginning and end of the season are unique. In the first episode, Tony gets shot and spends a lot of the time in the hospital inside one of the show's famous dream sequences, although it's different than they usually are, and the last one in the series. Every "last" felt significant - the last psychiatrist visit, the last appearances by favorite characters. I still say The Wire is better, but there's no denying the brilliance or importance of The Sopranos. It's really amazing how these horrible criminals manage to become sympathetic. Not truly sympathetic, of course. They're despicable people I'd never want to meet. But I sure enjoy watching them live.

A few episodes from the finale, a particularly brutal beating by Tony defending his daughter's honor triggers the beginning of the end. You could say it started a bit earlier with the demise of a certain character, but the tone clearly shifts as the final conflict really falls into place and you just know that it's finally happening. The constant head-butting between Tony's crew and one of the New York families that has been going on for years turns into a war, and almost every moment is as intense as anything that's been on television. You can just tell in these shows when something bad is about to happen, and seeing it happen to some people is harder than it usually is. I was waiting to see how the ending fits into the rest of the show, and I have to admit I liked it quite a lot. Sure, I can see how doing what they did could be disappointing or even infuriating to people who have been watching for years, and maybe I would have reacted negatively if I didn't already know about it. But the final scene is just so perfectly constructed, and the ending just works with it so well, that I couldn't help but smile. It's not the most closure you'll ever get from a series finale, but it really is a great scene. I haven't really decided what I think happened, although I'm leaning one way. There are good, differing arguments about what could have happened. What did happen doesn't really bother me too much, though. It was a fitting conclusion to a great show.

The Sopranos - Season 5

Multiple people told me I don't really have to watch past season 4, but I enjoyed the fifth as much as any other. The beginning seemed a tad stale, but the second half really picked it up with the increasing importance of the power struggle in New York after a boss dies without naming a successor. The show started out kind of small, focusing on a few high members of a Jersey family, but it's widened the scope as it's gone on. Despite the larger nature of the mob part of the show, it's really still about Tony Soprano. There's a lot on his plate again, with his cousin Tony B. (played by Steve Buscemi) getting out of his jail, trying to reconcile with Carmella, and Chris' problems with drugs and his place in the family continue. Some of Chris' actions seemed just a little too out there to me, like loaning his friend from rehab some money and then beating him when he can't pay as appears to be the typical mafia thing to do, and seeming completely oblivious when it drives the friend back to heroin. But there's a big payoff at the end involving his long-time relationship that to me was one of the series' best moments.

Buscemi is one of my favorite character actors, partly because he's just so weird looking, but also because he can play a lot of parts well. Every season of the show seems to introduce a new family member to be a thorn in Tony's side, but Tony B. is probably the most nuanced and interesting. He has more personal conflict about what he wants to be before he falls back to his old ways, and the familial connection with Tony makes dealing with him more difficult. The impact of the violence this season was felt the least, because it seemed superfluous and almost comedic too often, and some revelations about certain supporting characters just seemed shocking for the sake of it. It's still entertaining, just not up to the same standard of excellence as it was previously. With the end of the series now in sight, I'm coming to appreciate what it did for the medium. It really is great, and I think it helped bring about this renaissance where dramas and even comedies are able to have continuity and long-term, satisfying storylines instead of just keeping the status quo at the end of every week. The advent of TiVo and DVR letting people catch every episode probably played a big part, but I like it a lot more than sitcoms and procedural cop and doctor stuff.

The Sopranos - Season 4

The saga of the Soprano families continues. This was a really important season, with the single most important plot event of the show so far occurring at the end. It's not quite something you won't see coming, but it's still a bit of a surprise to see the central dynamic of the show change so dramatically. The pivotal scene is extremely well acted by the main characters, and it might be the biggest moment in one of history's best shows, as I've been told on more than one occasion that I shouldn't even bother watching the last two seasons. I still well, although I can't say me expectations haven't been tempered, especially since I already know about the non-ending.

They really did a good job that year of creating a story with tons of interweaving facets. Everything connects nicely without seeming contrived, and even though they still stay focused on a few topics per episode, it's all balanced very well. Janice dates Ralph who continues to cause Tony problems who's dealing with more pressure from Carmine in New York. Furio deals with feelings for Carmella who finds out about Tony's continued infidelity and has more arguments with her kids. While in jail, Paulie gets led on by Johnny Sack who is furious over comments made by Ralph. Chris' drug problems hurt Adriana, who's being used by the FBI. It all goes round and round and never gets boring. Hits get called for and canceled at the last second, and bad situations continue to get worse without being predictable. It's quite funny sometimes too, and the dream sequences are still fresh and some of the best put to film. The Sopranos is a darn good show.

The Sopranos - Season 3

I can see why The Sopranos might appeal more to an older audience than it does to me. The family issues it covers can resonate with anyone in America, but it's all told from a more mature perspective. I don't know what it's like to see your kids move out or get in trouble or see close friends pass away. Most of the younger characters on the show are unlikable, especially the ones involved with the mob business, who are almost universally portrayed as worthless idiots who mess up and then get killed. The youngest one who hasn't screwed up yet is Chris, but he gets made partway through the season so he's no young pup. Carmella's (Tony's wife) character is very prominent, and everything she deals with, how to cope with a criminal husband she still loves and her two very different children, are something I have no reference with. Still, the show is very good even if it wasn't made with me in mind.

There's a lot to deal with in the third season. An obnoxious relative moves on but another takes their place. Another prominent underling emerges who Tony butts heads with, this time played by the enjoyable Joe Pantoliano. The FBI's making a stronger push to compile evidence on him. His daughter has problems with boys and his son with school. He meets a new girlfriend in a place that should worry him, his psychiatrist's office. It's all balanced very well. Sometimes other shows try to give you snippets of all the plot threads being juggled all the time, but usually here they just pick one or two per episode to give real attention to. One aspect of the show I like is how frank it is with the violence and how things can quickly get out of hand in their line of work. In one episode, a simple trip to pick up owed money turns into an altercation and then a whole day getting lost in the woods, chasing after prey that could potentially be very dangerous. They definitely don't flinch showing the rough stuff. I'm gonna keep watching to see how wrong things get.

The Sopranos - Season 2

The second season didn't feel significantly different from the first, but did plenty enough to keep the expanding cast of characters and multiple story lines interesting without ever getting out of hand. It's a very bold show, as can be seen from much of the finale centering around Tony puking and having bizarre fever dreams. Dreams were an element in the first season too, and they're always effective. They're always related to the plot, and even without that they're always compelling in a humorous or creepy way. Tony continues to deal with his mental demons while trying to run a criminal business, and all sorts of problems crop up.

Much of the season, Tony is unable to get much help since his psychiatrist refuses to see him, so it just builds up in him as he lashes out irrationally and continues to pass out. When he eventually gets back on the couch, it's different, still cathartic but he just vents more instead of really getting to the root of the issue. His nephew Chris' role gets more significant, as he has a crisis of conscience and considers taking another avenue in his work and life altogether. Tony also has to manage his opportunistic older sister who's come back home, a mob member recently released from prison who won't stay in line, and an old friend who can't stop gambling his life away. Everything seems a bit better integrated this time, and I can see why people really loved the show when it was relevant. It's not as addicting or culturally important as I think The Wire was, but it's an excellent crime story.

The Sopranos - Season 1

I've seen bits and pieces of this series before, but haven't tried sitting down and really watching it before. It's definitely a slightly different experience finally watching in order something that you're already a little familiar with. I had seen a couple full episodes from this season before, but things make more sense when it's watched as intended.

The Sopranos, if you somehow don't know, revolves around Tony Soprano, who starts the show as a capo, one of several direct lieutenants to the family boss, in a mob based in New Jersey. A lot of the show is about the dealings and problems he has to deal with there, but the real focus is on him and his real family. His kids are growing up, his mother is a gigantic bitch, and he's been having panic attacks. He starts seeing a psychiatrist when they find nothing physically wrong after he passes out, and some of the best scenes take place in therapy. Even though he's a tough gangster and traditionally-minded parent, he still has his own insecurities that get dealt with pretty realistically. James Gandolfini fits the part perfectly, and is good at portraying a very complex character.

I kind of get the feeling creator David Chase wanted to make a character study and stuck on the crime stuff to keep people interested. They do a lot of their business at a strip club with plenty of gratuitous shots of the dancers, and some of his underlings, while entertaining, are almost parodies of the typical mafioso personality in movies. If that's true, I don't mind, because they do a good job of moving things along without the more personal stuff getting too heavy. As the season goes on, the two sides become more integrated and there's a good arc to the plot while keeping it open for a lot more to happen. I don't quite see why so many people declared it one of best, if not the best show ever, but it's definitely got a lot to it.