First film ever brought into our house via a video store.Â We had no idea what it was about or who the Coen Brothers were, we just knew the video store guy recommended it highly.Â I don’t remember one minute of it.
Walsh as the private eye comes across as more sleazy than Dan Hedaya, if that’s possible.
Deborah Neumann, sitting at the bar, looks an awful lot like Frances McDormand with long hair.
So because I want to watch this and enjoy it as it unravels, I didn’t look up the plot.Â So far, so good.
She pulled the sleeve of her nightgown up as she got out of bed and then again as she was walking out of the bedroom.Â Either a continuity gaffe or the nightie is too big for her.
Ooh, beating up the husband, well done, Frances.
I’m going to have to look up other M. Emmet Walsh movies just to see if his characters are always this annoying.
This being McDormand’s film debut is proof enough for me that the woman just flat-out has talent.
I have no recollection of this film at all.
That photo doesn’t look very convincing to me.
Um, wow.Â “Nah, I trust ya” followed by a shot in the chest.Â Eesh.
Whoops…don’t be leaving that lighter under the fish…
Hey here’s dead Ray not dead.Â Go figure.Â I feel like I’m missing something.
Four Tops “It’s the Same Old Song”.Â I feel very old hearing that.Â Â Good musical choice while Ray cleans up the mess.
The Coens make great use of scenes with no dialogue without having to use a musical montage (playing music in the background of the scene doesn’t count).
Ooh, Marty isn’t dead either!Â Blood puked up on my shirt, lovely.Â Crap he’s going to bury him alive, isn’t he?Â That freaks me out.Â My biggest fear, really.
So Ray’s doing all this because he thinks Frances McDormand shot her hubby, right?Â Man, that’s love for ya.
Gun in the ‘grave’.Â So awesome!Â I love the Coens.Â Too bad there were no bullets.
Holy cow this scene is terrifying.Â Christ.
I’m amazed at how much I’m enjoying this film give how little dialogue there is in the scenes with the most impact.
Okay, when the hell did Marty switch the photo with the bathroom sign?Â While he was in the bathroom, I’m guessing.Â How did I miss what he did with it?
Why isn’t she mentioning the blood on Ray’s shirt?Â Ooh now she tells Ray that Marty was on the phone but he knows Marty couldn’t be on the phone.Â Good communication could save this.
But, no, he thinks she’s cheating on him and he leaves her with her gun.
There really is no good guy in this film, eh?
Paper being tossed and smashing into the door to jar them both is fabulous film work.
So she gets told to stay away from Ray and does she listen…noooo….does anyone know how to do the right thing in this film?
Goodbye Ray.Â He told you to shut the light, chickie.
OOh, stabbing him into the window sill….gruesome but sweet!Â Â And not as gruesome as his trying to wrestle himself free.Â For a movie that isn’t exactly graphic, wow that was gut-wrenching.
Nice touch, leaning over to pick up your hat.Â Shoot him, chickie, shoot him dead.
Hey, through the door, nicely done.
She thought it was her husband??Â “I’m not afraid of you, Marty.”
“If I see him, I’ll sure give him the message.”
I can’t even begin to imagine how satisfying it must be to know that this film was your first major film.Â Great pacing (I know some people think it’s too slow but I thought it was perfect), fantastic acting and, really, I think Barry Sonnenfeld doing the cinematography was a huge boost to the film. So much talent packed into 90 minutes.