Blood Simple. (1984)

Director:

Joel Coen

Writers:

Joel Coen (written by) &
Ethan Coen (written by)

Release Date:

18 January 1985 (USA)

Genre:

Crime | Drama | Thriller

Tagline:

Breaking up is hard

Plot:

A rich but jealous man hires a private investigator to kill his cheating wife and her new man. But, when blood is involved, nothing is simple.

Plot Keywords:

Ceiling Fan | Adultery | Crime Gone Awry | Profanity | Cow

Awards:

4 wins & 5 nominations

Cast

John Getz	...	Ray
Frances McDormand	...	Abby
Dan Hedaya	...	Julian Marty
M. Emmet Walsh	...	Loren Visser
Samm-Art Williams	...	Meurice
Deborah Neumann	...	Debra
Raquel Gavia	...	Landlady
Van Brooks	...	Man from Lubbock
Señor Marco	...	Mr. Garcia
William Creamer	...	Old Cracker
Loren Bivens	...	Strip-Bar Exhorter
Bob McAdams	...	Strip-Bar Exhorter
Shannon Sedwick	...	Stripper
Nancy Finger	...	Girl on Overlook
William Preston Robertson	...	Radio Evangelist (voice)

Runtime:

99 min | 94 min (director's cut)

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital (re-release) | Ultra Stereo

Certification:

Australia:R | Netherlands:16 | Brazil:16 | Portugal:M/16 | South Korea:18 | Argentina:18 | Finland:K-16 | France:-12 | Norway:16 | Singapore:PG | Sweden:15 | Switzerland:16 (canton of Geneva) | Switzerland:16 (canton of Vaud) | UK:18 | USA:R | West Germany:18 | Iceland:16

Filming Locations:

Austin, Texas, USA

Company:

Foxton Entertainment

Trivia:

George Ives portrayed the fictional "Mortimer Young" (head of fictional film restoration company "Forever Young Films") in the introduction of the theatrical re-release and DVD release.

Goofs:

Plot holes: How did Loren Visser, the brother Shamus, light the fire he was burning the photos in before he noticed his zippo was missing when he tried to light a cigarette?

Quotes:

[first lines]
Private Detective Visser: [narrating] The world is full o' complainers. An' the fact is, nothin' comes with a guarantee. Now I don't care if you're the pope of Rome, President of the United States or Man of the Year; somethin' can all go wrong. Now go on ahead, y'know, complain, tell your problems to your neighbor, ask for help, 'n watch him fly. Now, in Russia, they got it mapped out so that everyone pulls for everyone else... that's the theory, anyway. But what I know about is Texas, an' down here... you're on your own.

Movie Connections:

Referenced in Llamando a un ángel (2008)

Soundtrack:

It's the Same Old Song

hilarious. astounding.

Ugh. So much griping about what this movie isn't! "It's not a good thriller" "It's not suspenseful" "I like Fargo better" Bring your genre recognition and creative constraints to movies whose scripts never passed through a working brain. There are plenty to choose from.

Thriller? mystery? love triangle..? Who cares? This is simply a good film. I don't care if I can tell you what genre it is. If you like passive viewing this isn't for you. When you kvetch about B.S., all it does is indicate you were a late-comer to the Coens and saw them in non-chronological order after seeing Fargo. I'm so sorry for you.

Boring performances? Not in my opinion. I'm relieved (delighted!) that it's not an "actors" movie with people method-ing up the plot. And I certainly don't watch it to vicariously feel anyones emotions. Pricey & needy name actors would have ruined this movie. (As in Ladykillers) Who cares if they're subdued? It's not about the perfs, it's about the thought you as a viewer bring to it. This is a "post-Method" movie and it's extremely clever and deep.

Plot too intricate? It's less complex than it appears, and much easier to understand than some piece of convoluted tripe like Mission Impossible. SPOILER: The double-cross begins in mid-conversation in M. Emmett Walsh's VW bug.

For me, the pacing is perfect. Any ten minutes of this movie is more thoughtful than plenty of other movies with frantic activity trying to hide their facile nature (Minority Report, O Brother, etc. etc. ad nauseum.) And I do not enjoy any of the fussy, formulaic follow-ups the Coens made after this.

The joy of this movie is watching characters 'complete the picture' incorrectly, and then take action in a way that will be painfully consistent with their assumptions. The movie paints the world as a chilly machine with parts set in motion by human idiocy, and implicates a God indifferent to all manner of human suffering. All of which should sound familiar to anyone who's read Mark Twain's The Mysterious Stranger.

The spare conceits of this movie are perfectly scaled. It has a minimalist score with some very nice music cues; and three or four sweet camera tricks so quietly inserted that you might miss them, which make me smile.