Meet Joe Black (1998)

This film has something that most flicks today can only dream of: class. It doesn't spoon-feed the plot to you, and it doesn't have useless dialogue crammed into every nook and cranny. Those who say this film drags should stick to children's cartoons. There is so much happening beneath the surface. Some just tune out the gaps in dialogue, and that's a real tragedy, because that's when the most happens, and the film really shines. Pitt, Hopkins, and Forlani are tremendous. Pitt's combination of power and innocence is flawless. This film is the most sophisticated to come out in a while, and the fact that the critics don't like it doesn't phase me one bit, nor does it surprise me. Meet Joe Black is a breath of fresh air: a truly elegant film.

I'm not a Brad Pitt fan. His physical attributes don't astound and thrill me! But, I've got to give it to him: He was convincing in his dual roles as the coffee shop sweetie and Mr. Death. Claire Forlani, whom I've never seen in a film before was simply luminous. She's the perfect Susan in this parable of one man's last days on earth. Anthony Hopkins as Bill Parrish is remarkable, as always. He truly makes you feel as though he's a man with little time left and has to spend the rest of his alloted time cleaning up his act, making amends with his loved ones, assuring his daughters that he loves them and has always loved them. Also, Marcia Gay Hardin and Jeffrey Tambor are both extremely good as the number two daughter (in her father's heart) and her slightly inept (business wise) husband. They're both touching. I wasn't put off by the length of the film. I think we should take the time to savor some things in life. Slow down, relax and enjoy this beautiful offering from Martin Brest. You did a good job, Marty!

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I'll admit that only morbid curiosity led me to watch this movie upon it's initial release. The premise of this remake sounded interesting, but the over the top costs and production problems had been tabloid fodder for months. When it didn't do blockbuster business, not many people were surprised.

It's a shame that this movie didn't do better than mediocre reviews and lukewarm boxoffice receipts. There I sat in the audience marveling at the gorgeous design and antiques, not to mention the exquisite costume design. So many films these days go for established designers, but this movie used a studio designer much like the days of the old Hollywood system. The attention to detail is exquisite.

As for the acting, it all boiled down to one scene for me. Anthony Hopkins describing the first time he'd ever had a lamb sandwich to Brad Pitt. It turns into one of the most beautiful remembrance speeches of a widower for the wife he still grieves. Needless to say even this heartless cynic got a bit misty. To have a man express such love without sounding condescending or corny is quite a feat. It's enough to make you believe in the power of a good actor.

Brad Pitt also deserves kudos for this role. Despite living through a personal hell and sustaining an injury, he does a great job in his double role. I thought the scene in which Death says good bye to Claire Forlani's character was some of his best acting.

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I didn't see this movie when it first came out in the theatres, and wasn't privvy to all the trash-talk about it's initial box-office flop. Came across it while channel-surfing about a year ago, and only caught bits and pieces of it the first few timesbut was intrigued enough by what I saw to eventually buy my own copy; I have now watched it through several times in the last year. This being the 454th review of this film on this site, by no means do I figure to offer any amazing new insights for someone who has never seen this under-appreciated movie. But after reading through several of both the one and five-star reviews on this site, I thought I'd add just a few personal observations. To start, it is worth nothing that about 3/4 of the numerous reviews posted here rate MJB as a 5-star movie. The 5% that relegate it to one star all have a central theme: it was too long, too slow, and pretentious.

Now I am a contemplative sort at heart, but still also enjoy a good pure-action flick, provided the production values, acting, plot and message are sound. Perhaps because I have been a cancer specialist for the past 23 years, and am witness to Death on a frequent basis (in His more obscure, spiritual form), I think those who are critical of the perceived "slowness" of this film just aren't catching what I believe must have been the intent of the director: life generally rushes by in the blink of an eye, but when you are confronted with your own imminent mortality, and the pressing reality of the prospect of Oblivion (or at least the end of all you know as real), everything tends to slow down to a snail's-pace. The last days, hours, minutes of one's life are grasped very dearly, and only relinquished with great resignation.

The pace, therefore, of MJB I believe to be a purposeful attempt to capture that time warpthose who found this movie slow and pretentious just didn't buy into the attempt. I think many of the 5 star reviewers for this movie obviously did. I did, and can only add that when one's life is "flashing before your eyes", it actually "flashes" at a very languid pace. The human spirit holds on as long as it can, to savor what it is about to know no more.

I won't comment on all the other aspects of this very-finely crafted movie, except to say that like so many others, I was riveted by Claire Forlani's physical presence: she didn't have to utter a single syllable in this film for meBeauty beyond description, so much that even Death Himself was caught in her spell. How some reviewers saw Anthony Hopkins' performance in this film disappointing is beyond me: he's the perfect actor to handle the subdued and introspective nature of his character in MJB. Likewise, Brad Pitt does a credible job with a part that must have posed quite the challenge to portray in a believable way, and yet always manage to convey a sense of other-worldliness. The first time I watched MJB I was put-off by his seemingly stilted, robotic mannerisms and monotone speechbut with repeated viewing, it just fits. This guy (Death) doesn't get out much, after all. Also a nice casting choice to make the human form of Death so physically attractive: a subtle reminder that appearances are yet mortal, fleeting, dust in the wind.

And the musical score is excellentpurposefully grandiose and sweeping at times, and lyrically subdued, tender, and sad at others. Of course, if you thought the movie slow and pretentious, the score probably also seems melodramatic. To each his own.

But I guess to appreciate this movie you just "have to be there" : facing your own mortality with a guaranteed finality, and even an awareness of what will be your final day, your "last rush of time".

If you are in such a place, or perhaps have faced it with a loved one, this movie will ring absolutely true. Recommended, regardless of all the negative hype over the years, as a lasting testament to Life.

Want Meet Joe Black (1998) Discount?

Every frame of this film is beautiful. It has the look and feel of a Merchant/Ivory film. The musical score is by Thomas Newman. He is my favorite modern composer. I can hear his reverence for the piano. I can't watch this film without crying no matter how many times I see it. I agree with another reviewer: a favorite scene is when Anthony Hopkins describes how he came to like cold lamb sandwiches. It took great care for this film to take something so simple and give it such depth and richness. If you like love stories, you'll like this film. If you like fantasy, you'll like this film. Because sadly, love and fantasy are so often synonymous.

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