The Man Who Wasn't There

Directed by Joel Coen and starring Billy Bob Thornton as Ed Crane, The Man Who Wasn't There is a modern day take on the noir style. It does for the noir style what Brick would later do for the noir and hardboiled narrative and dialog.

In terms of the narrative it is very stereotypical. We have an anti-hero who seems to be in an almost constant state of narration. Focused very much on himself we are always hearing the words "I" and "me" while starting to see his skewed few of morality. In his eyes he is doing no harm through blackmail and shows almost no emotion throughout the film, even up until his final demise.
The film was heavily influenced by writer James M. Cain who wrote the novel for Double Indemnity, one of the most famous film noirs.

Visually is where the film really stands out. Black and white, low key, high contrast lighting, the film uses just about ever noir style there is and uses them beautifully.

Cinematographer Roger Deakins uses a film style very similar to those used in the 1950's. A long depth of field with the camera at eye level is very common in films of that era. Mirrors, wide shots with long shadows and blinds in the dingy bar are all common visual elements of noir and all feature in the film. Rising smoke is also very common and throughout the film Billy Bob's character is almost never shown not smoking.

Roger Deakins was inspired by fellow cinematographer Russell Metty who was DoP on such films as Spartacus and the film noir classic Touch of Evil. He was also inspired by the films Kiss Me Deadly, In Cold Blood and The Spy Who Came in From the Cold for his visual style in the film.

Another interesting thing to note is how durrig the scene where Billy Bob fights his wife's lover the camera cuts away to a wide shot where little of the fight can be seen, alienating the audience from what's happening. Also worth mentioning is the use of circular shadows in the scenes shot in the prison cell. Perhaps as these are taking place with the lawyer creating plans, they are to give the audience a sense that everything will work out well and that everything is complete and whole. False feelings as it will turn out.

The film was shot in colour then made black and white in post. Roger Deakins did months of tests on b + w film stock but ultimately was very glad to shoot on colour as he stated there was not as much clarity as colour.

The Man Who Wasn't There is a triumph of visual storytelling and a worthy edition to the modern noirs.