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No. 11: “Blood Simple” (1984)

“If you point a gun at someone, you’d better make sure you shoot him, and if you shoot him you’d better make sure he’s dead, because if he isn’t then he’s gonna get up and try to kill you.” ~~Ray

What is it about best-laid plans crumbling to hell that fascinates us so endlessly? Is it the thrill of watching greed and lust pollute the simplest of schemes, careful blueprints drawn up with what seems like attention to detail? Maybe it’s simpler than that. Maybe there’s something comforting about maintaining distance, assuming a stance of superiority that allows us to say — and believe — “I’d never let that happen to me.”

The perverse magic of Joel and Ethan Coen’s stylish, enormously disquieting “Blood Simple,” what shakes us to the core, is that the opposite is true: Easy plots like this get dreamed up by normal people, and they unspool in crazy ways that boggle the mind. For every hairline fissure that surfaces, there are hundreds more underneath, slowly working their way to the top. The bitter end, the Coens understand, is always so much closer than we think.

It is the illusion of control that sets in motion the undoing of most every player in “Blood Simple,” which begins with a seemingly simple plan (code for “something’s about to hit a fan”): Slimy bar owner Julian Marty (Dan Hedaya) suspects his wife Abby (Frances McDormand in her first big-screen role) is having an affair, so he hires Private Detective Loren Visser (a skin-crawlingly good M. Emmet Walsh) to tail her. When Marty discovers Abby is bedding Ray (John Getz), one of his bartenders, he’s glad to pony up dough for a hit. Marty’s out for blood. Problem is, Visser’s out for money — as much as he can get — and he knows the location of his client’s safe. That was Marty’s first mistake.

Since this is film noir, the initial mistake leads to another … which leads to another … which unleashes a slow-building hurricane of potential and totally unforseen complications. Suddenly nobody, not even Abby, so wide-eyed in her protests of “I ain’t done nothin’ funny,” is able to walk away from this mess without making bloody getaway tracks. There are dead bodies and very-nearly-dead bodies and mistaken identities. The whole business might be downright comical if it wasn’t so damn sleazy.

But wait! This is Coen brothers film noir, so comedy abounds. “Blood Simple” is where the Coens introduced their brand of nefarious tomfoolery, so the jokes sneak up on us like Jack the Ripper. Consider Ray’s summary of what happened on a midnight trip: “He was alive when I buried him.” Gulp. Or Visser’s response to Marty, who says the Greeks beheaded bad news carriers: “Gimme a call whenever you wanna cut off my head. I can always crawl around without it.” Yipes. Humor doesn’t get much blacker (note the song that announces the final credits). Barbed observations like these are the kind that clump uncomfortably in the throat, yet they spotlight human folly too good not to laugh at: Every man thinks he’s gripping the reins, and not one of them actually is. The actors time these lines faultlessly, with Walsh, who sweats menace, and Hedaya, perfectly cast as the fiendish Marty, doing heavy lifting. McDormand, all innocence, shows early promise she’s more than made good on. And Getz might have the best job of all: He shows us how easy it is for the straight man to nosedive into depravity.

More brilliance reveals itself as “Blood Simple” rumbles toward the finish. The staggering cinematography, courtesy of Barry Sonnenfield, transforms the dusty Texas landscape into a character with its own motivations, its own agenda. The desert turns an unforgiving eye on these miscreants, offers not a moment of solace. Behind the camera, the Coens do their part to make their film a dark visual masterpiece. They amplify that desolate feeling with artful, pointed shots: a blood drip here, a thumping ceiling fan there, a close-up of dripping sink pipes. Matter of fact, that last shot pins the film’s thesis, squirming, to the wall: If you’re dumb enough to think something’s just what it seems, prepare to suffer the consequences.