While Death, when personified as a being, has been referred to by many titles -- the Grim Reaper, the Great Leveler, the Angel of Death, and Lord of the Underworld among others -- it's doubtful "he's" been called the sexiest man alive. Yet, here we have Mr. Brad Pitt -- former recipient of that label and looking ever more like a young Robert Redford -- playing that character in a film that's quite good, but unfortunately also about an hour too long.
While they say that death and taxes are two guaranteed certainties in life (a common saying effectively played with in this film), I can think of a few more. First, although few people would welcome the arrival of the Grim Reaper, I'd hazard a guess that half the moviegoers out there (the fairer gender) wouldn't mind it so much if he looked and acted like Mr. Pitt.
Secondly, no matter how true or accurate that first statement may be, the film's three hour length and reported $90 million budget means it will never go into the financial state usually associated with the title character's last name.
Nonetheless, and despite its dire need for a more cynical and hard-nosed editor, "Meet Joe Black" is a marvelous, "feel good" romantic drama featuring great performances from its leads, a witty script, and -- depending on your stance regarding the film's pace -- just the right directorial touch.
I must admit that I'm a sucker for any of the sentimental, fantasized "life after death" type plots, and have immensely enjoyed films such as "Heaven Can Wait" (the Warren Beatty version), "Field of Dreams," and of course the "Christmas Carol/It's A Wonderful Life" style movies (although the recent "What Dreams May Come" didn't cut it).
This one, a loosely updated adaption of the classic 1934 film, "Death Takes a Holiday," joins that illustrious group. Purposefully unfolding in a casual manner that nearly hypnotizes the viewer into its dreamlike aura, the film is definitely too long, but never feels overly laborious despite the many pregnant pauses, slowly delivered dialogue, and resolute lack of any need to hurry through its story.
Part of that's due to the charismatic cast and the wonderful performances they deliver. Oscar winner Anthony Hopkins ("The Silence of the Lambs," "The Edge") has always been one of my favorite actors and he seems to have a knack for picking roles that suit him well. Always believable as the suave tycoon, Hopkins perfectly fits into his role, although his character doesn't always react the way he probably should, a point we'll touch on in a moment.
While some may question the casting of Oscar nominee Brad Pitt ("Twelve Monkeys," "Seven Years in Tibet") as the Grim Reaper along with his subsequent take on how that being would react once in a human body, I found his performance to be a finely tuned balance of "fish out of water" innocense coupled with potentially eruptive doom. Eliciting many laughs from his surprised but subdued reactions to new experiences and sensations, his performance will likely garner notice comparing it with Jeff Bridges role in "Starman."
Claire Forlani ("Basquiat," "The Rock"), while inhabiting a decidedly less developed character than her male counterparts, is still quite stunning, gorgeous and a perfect counter to Brad Pitt for the men in the audience.
Although a more substantial fleshing out of her character would have better suited Forlani, she easily holds her own in the midst of her highly acclaimed leading men and this role should thrust her into the media spotlight as well. Supporting performances from the likes of Marcia Gay Harden, Jeffrey Tambor, and Jake Weber are solid across the board.
Director Martin Brest, who often takes years between his projects (his last being 1992's "Scent of a Woman" after "Midnight Run" and "Beverly Hills Cop"), allows his performers and their characters all the time in the world to do their thing.
Working from a script by Ron Osborn & Jeff Reno (collaborators on "Radioland Murders" and "The Hard Way") and Kevin Wade ("Working Girl," "Junior") and two-time Oscar winner Bo Goldman ("One Flew Over the Cuckoo's Nest," "Melvin and Howard"), Brest is never in any hurry to move the story along. As such the film's languid pace will certainly divide critics and viewers over whether such a unhurried plot is a good or bad thing.
Much like the recent and similarly long "Beloved," this film easily could have been trimmed by an hour or so without losing an ounce of material. While Brest appears to have purposefully paced the film to elicit that near hypnotic effect and such shortening could have hampered that, the film clearly would have benefitted from another trip or two to the editing booth.
Other complaints are more superficial and a byproduct of my personal desire for good films like this to be even better. Beyond the film's length, character motivation occasionally appears misguided or missing. While Hopkins plays his tycoon character's reaction as something along the lines of dazed acceptance, I kept waiting for him to take a proactive role regarding his pending fate.
As such, one would imagine that his wealthy and fabulously successful tycoon character would surely have something up his sleeve to try to "fix" things. After all, and considering that he must have a lifetime of dealing with formidable business opponents, Parrish would certainly present Death a counteroffer or business proposition to overcome this latest setback.
While Brest and Hopkins obviously chose to allow his character to go gently into the night in a dignified fashion that few other than Hopkins could muster, most will probably wish he had at least put up a little fight before doing so.
Additionally, and while granted he can't tell anyone about their deal or Death will immediately whisk him away, Parrish, like the film in general, never seems in a great hurry to put his life in order, wrap up loose ends, or make sure his daughters will be okay after he's gone. While some of that eventually materializes in its own good time, such near leisurely reaction may irritate some, but again that's the approach the filmmakers have decided to take.
Parrish also too easily buys into the fact that Joe is Death -- again accounting that he's a savvy and experienced businessman who would need greater proof -- and he doesn't realistically go through the stages associated with learning such news -- denial, anger, etc... -- and hits acceptance perhaps a bit too quickly and easily.
Again, they're going for dignity here, and that, coupled with the film's fantasy-like approach, somewhat makes those problems easier to swallow. Even so, the writers could have honed the script a bit more to remedy such faults.
They definitely left out one of the more "fun" elements of Death taking a holiday, and that, of course, pertains to the fact that no one around the world would be dying during this period. Although a sick woman in a hospital immediately recognizes Joe for whom he really is, and begs him to ease her pain, the film misses its opportunity to play off this notion.
Since Susan works at a hospital and Parrish owns a media empire -- both of which would inquisitively report on why no one was dying anymore -- the film never addresses that interesting part of the overall premise.
Despite such objections -- and in particular, the length -- our preview audience seemed to love the film and it should play well, particularly to female moviegoers. Although the subject matter sounds like it could get depressing at times, Brest & company have made sure that the film is uniformly uplifting and entertaining.
The chemistry among the leads is impeccable and completely believable. The initial encounter between Susan and Joe (before he's Death warmed over) is brimming with romantic sparks, and despite that man's death and Joe Black's subsequent aloofness, the chemistry slowly but surely rebuilds between the two.
Accompanied by a great, hauntingly sentimental score by past Oscar nominee Thomas Newman ("The Shawshank Redemption) and a luscious production design courtesy of fellow Oscar nominee Dante Ferretti ("Interview With The Vampire"), the film looks and sounds great.
It's also filled with great performances, a clever script with more laughs than one would probably imagine from a picture such as this, and the life/death premise that's always intriguing. Although it doesn't offer the "It's A Wonderful Life" style lessons, and doesn't hit the obligatory emotional notes until late in the film, it's still quite good and a certain crowd pleaser despite its length. We give "Meet Joe Black" an 8 out of 10.
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