Blood Simple. . . Anything But

With two feet firmly planted in the historic noir genre of the 1940s and 50s, Joel and Ethan Coen went about making their first feature film, Blood Simple.. Though it was not, by any means, that ‘simple’.

Creating a trailer long before production (it has Bruce Campbell in it – who never appears in the final motion picture), strangely enough, it does not feel entirely compatible with their final product, but somewhat like a distant relation to the iconic cult horror classic Evil Dead. On the advice of Sam Raimi (director of the above mentioned movie – who helped advise the brothers), the Coen’s went door to door with a projector and their trailer, seeking out investors. Think of it as the original GoFundMe. In just over a year, they raised the needed capital and got to work on their film – which, in case you thought that I made a mistake up above, contains a period after ‘Simple.’.

A striking neo-noir, the title comes from an old Dashiell Hammett novel, “Red Harvest”, a term that highlights the muddled, jittery and anxious mindset of people who have had a protracted immersion in violent affairs.

Starting in typical noir fashion, we hear the voice of Private Detective Loren Visser (M. Emmet Walsh), who we will soon meet, as we are treated to vistas of the Texas landscape – it is here that the intriguing tale takes root. Then, we are transported into a car as two people, Ray (John Getz) and Abby (Frances McDormand – in her first role), discuss the deteriorating aspects of her marriage to her husband Julian Marty (Dan Hedaya). Though he is supposed to be driving her to Houston, they end up in a highway motel, where they do more than sleep.

By the next morning, it is clear that someone knows of the illicit affair. We then watch as Julian, a bar owner, meets with the PI, as he has been suspicious of his wife’s actions. His worst theories are proven, as the private eye has snapped photos of her with one of his bartenders (Ray).

Julian is distraught and more than a little angry. It does not take too long until he solicits the unscrupulous detective to off the couple. Accepting the murderous task, the dick tells his client to get out of town and go fishing for a few days. What will become of the adulterous couple? Will they survive? Will Julian be able to live with himself if the sordid actions come to pass? Will the detective go through with it? I will leave all of these questions, and more, unanswered, so that you may enjoy all of the twisted turns of this richly drawn plot.

Filled with double crosses, cover ups, revenge, murder, nightmarish dreams and many other dark, seedy happenings, the Coen brothers keep us guessing throughout. Teaming up with cinematographer Barry Sonnenfeld (who has since become an accomplished director – think franchises like The Addams Family and Men in Black), they utilize shadow and light to their advantage. During most of the film, they douse each visage with different shades, sometimes making the characters look like two-faces, while at other times giving them a trapped looked. Julian’s bar, filled with different neon lights, gives those scenes an interesting hue that combines greens, reds and many other colours – these sequences would perhaps best be termed ‘neon-noir’. There is such a palpable atmosphere here, that it is hard to believe that these are first time filmmakers.

Taking delight in referencing the B-movies of yesteryear, you will see many impressive pieces of technical skill (above and beyond the cinematography). Tracking shots (one finds a bartender making his way to a jukebox), impactful use of the camera (which takes us along the bar, then over a passed-out drunk, and into the action), shocking sounds (watch out for that bug zapper) and intense close-ups are used to great effect.

It is difficult for neo-noirs to compete with the original features, as black and white is so effective when lighting a crime-filled story, yet the Coen’s are able to imbue their movie with the same masterful lighting that was at the heart of those post World War II pictures. See the epic finale for a perfect example (as light seeps through bullet holes that have punctured a wall).

It is almost fitting that it is set in Texas. The sweltering heat, which leaves many a face sweaty, perfectly encapsulates the ornery, cantankerous and downright mean actions depicted on screen. Though, it also features the Coen’s typical sharp, dry humour – a nice touch in such a dark movie.

The Coen’s also enlist the help of excellent character actors. They actually wrote the part for Walsh, who relishes his screen time as the slow moving, southern detective. He is the most humourous character; an insatiable heavyset man who is difficult to read. Though this is very true of each main player, as they are all, in their own way, detestable and slimy. Hedaya concocts a persona of a man who is bitter, jealous, and quick to act, while McDormand is nearly unreadable – is she cunning femme fatale or just a woman looking to escape the reaches of her harsh husband? Place Getz’s Ray in the middle, a confused guy who has fallen head over heels for a gal in need of a new bed, and you have the makings of a conundrum of a caper.

With its serpentine, twisty plot that even leaves the characters in a constant state of confusion as to what is going on, Blood Simple. can easily be compared to the works of Brian De Palma (its style and story sometimes brings visible comparisons). There is also one sequence that will immediately bring to mind a technique used by Sam Raimi in the Evil Dead films. It features all that is needed to make a worthwhile foray into the world of noir, and is a more than serviceable crime thriller. So, open the window to this early Coen film, you will finally discover who takes a shot in the dark. . . and light.