“Meet Joe Black” is a movie about a rich man trying to negotiate the terms of his own death. It is a movie about a woman who falls in love with a concept. And it is a meditation on the screen presence of Brad Pitt. That there is also time for scenes about sibling rivalry and a corporate takeover is not necessarily a good thing. The movie contains elements that make it very good, and a lot of other elements besides.
Less is more. As the movie opens, a millionaire named William Parrish ( Anthony Hopkins) is pounded by a heart attack, the soundtrack using low bass chords to assault the audience. He hears a voice--his own--in his head. On the brink of his 65th birthday, he senses meet joe black death is near. He tells his beloved younger daughter Susan ( Claire Forlani) that he likes her fiance but doesn't sense that she truly loves him: “Stay open. Lightning could strike.” It does.
A few hours later, in a coffee shop, she meets a stranger (Brad Pitt). They talk and meet joe black. He says all the right things. Lightning makes, at the very least, a near miss. They confess they really like each other. They part. He is killed. That night at dinner, she is startled to find him among her father's guests. The body of the young man is now occupied by Death, who has come to inform Parrish that his end is near.
He does not recognize Susan. That's odd. Isn't Death an emissary from God? Shouldn't meet joe black know these things? He's been around a long time (one imagines him breaking the bad news to amoebas).
This Death doesn't even know what peanut butter tastes like, or how to kiss. A job like that, you want a more experienced man. No matter. We accept the premise. We're distracted, anyway, by the way Brad Pitt plays the role. As both the young man in the coffee shop and as “Joe Black” (the name given him by Parrish), he is intensely aware of himself--too aware.
Pitt is a fine actor, but this performance is a miscalculation. Meryl Streep once said that an experienced actor knows that the words “I love you” are really a question.
Pitt plays them as a compliment to himself. There is no chemistry between Joe Black and Susan because both parties are focused on him. That at least leads to the novelty of a rare movie love scene where the camera is focused on the man's face, not the woman's. Meet joe black have become skilled over the years at faking orgasms on camera, usually with copious cries of delight and sobs of passion. (As they're buffeted by their competent male lovers, I am sometimes reminded of a teenager making the cheerleader team, crossed with a new war widow.) A male actor would have to be very brave to reveal such loss of control, and Pitt's does not cry out.
His orgasm plays in slow motion across his face like a person who is thinking, this is way better than peanut butter. I was not, in short, sold meet joe black the relationship between Susan and Joe. She spends most of the movie puzzling about a very odd man who briefly made her heart feel gooey. There is no person there for her, just the idea of perfect love. Joe Black is presented as a being who is not familiar with occupying a human body or doing human things.
One wonders--is this the first time Death has tried this approach? Parrish strikes a deal with him (he won't die as long as he can keep Joe interested and teach him new things) and takes him everywhere with him, including board meetings, where Joe's response to most situations is total silence, while looking like the cat that ate the mouse. The Parrish character, and Anthony Hopkins' performance, are entirely different matters.
Hopkins invests the dying millionaire with intelligence and acceptance, and he talks wonderfully well. “Meet Joe Black” consists largely of conversations, which are well-written and do not seem false or forced as long as Parrish is involved in them.
His key business relationships are with the snaky Drew ( Jake Weber), whom Susan dumps for Joe, and with the avuncular Quince ( Jeffrey Tambor), his loyal but bumbling son-in-law.
Quince is married to Allison ( Marcia Gay Harden), who knows Susan is her father's favorite but can live with that because Parrish is such a swell guy. (He's ethical, sensitive, and beloved--the first movie rich man who could at least squeeze his head and shoulders through the eye of the needle.) What's fascinating about Parrish is that he handles death as he has handled everything else. He makes a realistic assessment of his chances, sees what advantages he can extract, negotiates for the best possible terms and gracefully accepts the inevitable.
There are times when he handles his talks with Death so surely that you wish Heaven had sent a more articulate negotiator. Meet joe black movie's ending takes too long. There are farewells, reflections, confessions, reassurances, reconciliations, partings and surprises. Joe Black begins to get on our nerves with his knack for saying things that are technically true, but incomplete and misleading. The film would play better if he didn't always have to talk in epigrams. Even at the very end, when a line or two of direct dialogue would have cleared the air, he's still talking in acrostic clues.
Still, there's so much that's fine in this movie, directed by Martin Brest (“ Scent of a Woman”). Claire Forlani has a touching vulnerability as she negotiates the strange terms of her love. Marcia Gay Harden plays a wise, meet joe black scene with Parrish, as a loving daughter who knows she isn't the favorite. Jeffrey Tambor's performance is crucial; through his eyes, we understand what a good man Parrish is.
And Anthony Hopkins inhabits a story that tends toward quicksand and finds dry land. You sense a little of his “ Nixon” here: a man who can use anger like a scalpel, while still standing back to monitor the result. Meet joe black, who takes the meet joe black of a young man, asks a media mogul to act as a guide to teach him about life on Earth, and in the process, he falls in love with his guide's daughter.
Death, who takes the form of a young man, asks a media mogul to act as a guide to teach him about life on Earth, and in the process, he falls in love with his guide's daughter. Death, who takes the form of a young man, asks a media mogul to act as a guide to teach him about life on Earth, and in the process, he falls in love with his guide's daughter.
A truncated two-hour version has been shown on television and airlines, achieved by chopping out most of William Parrish's (Sir Anthony Hopkins') business. Producer and director Martin Brest has disowned this edit, so the director's credit is for "Alan Smithee" (the usual nickname used for directors when they disregard from a work).
Meet Joe Black is a beautiful film with a talented cast. Because it is unique, the plot enables humor to be weaved within the dramatic and romantic elements. The music, composed by Thomas Newman (Shawshank Redemption, Erin Brokovich) truly enhances the movie.
The many string and piano melodies are beautiful, and fit smoothly. There are so many memorable moments, like father-daughter conversations, and the scene in the coffee shop. Brad Pitt, in his portrayal of Death,displays naive and vulnerable feelings, skillfully in sharp contrast his behavior at the beginning of the film.
While some criticize its length and unrealistic aspects of the plot, I found it to be so captivating and quite well-made. Meet Joe Black has an indescribable effect on me whenever I watch it. The story of Death being apprentice to a respected, accomplished man makes one realize the simple beauties of life-- passion, family, love. and peanut butter.
Running time 181 minutes Country United States Language English Budget $90 million  Box office $142.9 million  Meet Joe Black is a 1998 American romantic fantasy film directed and produced by Martin Brest, and starring Brad Pitt, Anthony Hopkins, and Claire Forlani.
The screenplay by Bo Goldman, Kevin Wade, Ron Osborn, and Jeff Reno is loosely based on the 1934 film Death Takes a Holiday, an adaptation of the 1924 Italian play La Morte in Vacanza by Alberto Casella. It was the second pairing of Hopkins and Pitt after their 1994 film Legends of the Fall. Contents • 1 Plot • 2 Cast • 3 Production • 3.1 Filming • 3.2 Versions • 4 Reception • 4.1 Box office • 4.2 Critical response • 5 References • 6 External links Plot [ edit ] Media mogul Bill Parrish is contemplating a merger with another media giant.
Also, his eldest daughter, Alison, is planning an elaborate 65th birthday party for him. His younger daughter Susan, a resident in internal medicine, has a relationship with Drew, one of Bill's board members. Considering marriage, as Bill sees Susan is not deeply in love, he suggests she wait to be swept off of her feet, suggesting "lightning could strike!".
When the company helicopter lands, he hears a mysterious voice, which he tries to ignore. Arriving in his office, Bill has sharp pains in his chest and hears the voice again, saying, "Yes." While studying in a coffee shop, Susan meets a vibrant young man who also says "lightning may strike" a relationship between them.
Stunned, she departs without getting his name. Unbeknownst to her, directly afterward, he is struck fatally by multiple cars. That evening, Bill hears the voice again and it summons him so Bill meet joe black him alone in a room.
Slowly materializing, it identifies itself as Death and is now in the body of the young man. Death explains that his impassioned speech to his daughter piqued his interest.
Given Bill's "competence, experience, and wisdom," Death says that for as long as Bill will be his guide on Earth, Bill will not have to die. They both return to the dinner table and under pressure to make an introduction, clumsily make up a name for Death, introducing him to the family as "Joe Black." Joe Black, having no sophisticated human qualities, doesn't seem to know how to drink, eat or why food and utensils are used. He later wanders meet joe black the palatial house to adapt.
Susan tries to understand his intentions, noting that his character is not the same. Bill fails to keep events from going rapidly out of his control. Drew secretly conspires with Parrish Communications, capitalizing on Bill's strange behavior and reliance on Joe to convince the board of directors to vote Bill out as chairman. Using information from Bill's son-in-law, Quince, Drew pushes for merger approval which Bill now opposes. Intrigued by Joe's naivete, Susan sees he's very different from the young man she met in the coffee shop.
She falls deeply in love, so Joe is now under the influence of human desires and a magnetic attraction to her. Bill inadvertently walks in and sees them. As they make love, Joe asks Susan, "What do we do now?" She replies, "It'll come to us." Bill angrily confronts Joe about his relationship with his daughter, and Joe declares his intention to take Susan with him.
But at Susan's hospital, Joe interacts with a terminally ill old woman who wishes to pass away. Understanding who he is, when he tells her he loves Susan, they discuss the meaning of life and she helps him understand he is dangerously meshing two worlds. As Bill's birthday arrives, he asks Joe to recognize the meaning of true love, especially honesty and sacrifice. Joe realizes he must set aside his own desire and allow Susan to live her life.
Joe helps Bill regain control of his company, exposing Drew's underhanded business dealings to the board by claiming to be an agent of the Internal Revenue Service and threatening to put Drew in jail. At the party, understanding his death is imminent, Bill meet joe black peace with his daughters.
Susan tells Joe she has loved him since the day in the coffee shop and he hints that his time meet joe black coming to an end. Realizing Susan loves the unknown man, not him, crushes him. He doesn't tell her who he really is, but she seems to intuit something mystical about his identity.
Struggling to comprehend the magnitude of their attraction, Susan declines to comprehend Joe as Death. She sputters, "You're, you're Joe." He promises "you will always have what you found in the coffee shop. Thank you for loving me." In their father/daughter dance, Susan and Bill also say goodbye. Then, on a hilltop above the party, Bill asks Joe, if he should be afraid.
He replies, "Not a man like you." Fireworks explode in the distance while Susan watches Joe and her father cross a bridge at the top of the hill and descend out of sight on the other side. Susan stands stunned as "Joe" reappears alone and bewildered. He is the embodiment of the young man from the coffee shop, uninjured and not comprehending where he is.
Susan accepts that her father is gone, and the magical love that she had shared with this young man has returned. "What do we do now?" she asks. "It'll come to us," he replies, as they descend hand-in-hand toward the party. Cast [ edit ] • Brad Pitt as Death / Joe Black / Young Man In Coffee Shop • Anthony Hopkins as Bill Parrish • Claire Forlani as Susan Parrish • Jake Weber as Drew • Marcia Gay Harden as Allison Parrish • Jeffrey Tambor as Quince, Allison Parrish's Husband • David S.
Howard as Eddie Sloane • Lois Kelly Miller as Jamaican Woman • Marylouise Burke as Lillian • June Squibb as Helen Production [ edit ] Filming [ edit ] Most of William Parrish's country mansion scenes were shot at the Aldrich Mansion in Rhode Island.
The penthouse interiors and Parrish Communications offices were sets built at the 14th Regiment Armory in meet joe black South Slope neighborhood in Brooklyn, New York.  The place where Susan and the Young Man from the Coffee Shop first meet is Broadway Restaurant, at 2664 Broadway and West 101st Street, Manhattan.  Versions [ edit ] A two-hour version was made to show on television and airline flights, by cutting most of the plotline involving Bill Parrish's business. Since Brest derided this edit of his film and disowned it, the director's credit was changed to the Hollywood pseudonym Alan Smithee.
 Reception [ edit ] Box office [ edit ] Meet Joe Black opened on November 13, 1998, and grossed $15,017,995 domestically upon its opening weekend (11/13-15) at #3, meet joe black The Waterboy 's second weekend and the opening of I Still Know What You Did Last Summer.
 While the film had a disappointing domestic box office return of $44,619,100, it fared much better internationally. Taking in an additional $98,321,000, the movie grossed a worldwide total of $142,940,100.
 As Meet Joe Black was one of the few films showing the first trailer for Star Wars: Episode I – The Phantom Menace, it was reported that droves of Star Wars fans bought tickets for the film, only to leave after the trailer meet joe black.  Critical response [ edit ] Meet Joe Black received mixed reviews from critics, with most complimenting the performances but criticizing the film's three-hour length, the slow pacing and the screenplay.
  Ebert gave it three stars, but disliked the peripheral story lines and overly drawn-out ending. He concluded that despite its flaws, "there's so much that's fine in this movie".  Travers wrote Rolling Stone that most of the characters were one-dimensional.  Anthony Hopkins received uniform praise for his performance, with Travers opining that Hopkins' Bill Parrish was the only fully realized character in the film; LaSalle commented that "Hopkins' acting is so emotionally full that the tiniest moments .
ring with complexities of thought and feeling."  Brad Pitt, on the other hand, received a mixed response, with Mick LaSalle calling the performance so bad "it hurts"  and James Berardinelli calling it "execrable".  Meet Joe Black earned a Razzie Award nomination for Worst Remake. On Rotten Tomatoes the film has an approval rating of a 45% based on reviews from 49 critics. The site's consensus states: " Meet Joe Black is pretty to look at and benefits from an agreeable cast, but that isn't enough to offset this dawdling drama's punishing three-hour runtime."  On Metacritic it has a score of 43% based on reviews from 24 critics, indicating "mixed or average reviews".
 Audiences surveyed by CinemaScore gave the film a grade "A−" on scale of A to F.  References [ edit ] • ^ a b c "Meet Joe Black (1998)". Box Office Mojo. Retrieved 2011-03-03. • ^ "Film Crews Are Generating The Magic and the Backlash". www.nytimes.com. 1997-07-06. • ^ "Meet Joe Black Filming Locations". movie-locations.com. Retrieved 2017-05-07. • ^ AMY WALLACE (15 January 2000). "Name of Director Smithee Isn't What It Used to Be". Los Angeles Times. Archived from the original on 2019-04-07.
Smithee’s work, as was the airline version of Martin Brest’s “Meet Joe Black.” • ^ "Weekend Box Office Results for November 13–15, 1998".
Box Office Mojo. 2011-02-03. Retrieved 2011-03-03. • ^ "What Happened When The Phantom Menace's Trailer Was Shown In Theaters". CINEMABLEND. November meet joe black, 2014. • ^ a b Berardinelli, James (1998). "Meet Joe Black (United States, 1998)". reelviews.net (movie review). Retrieved 2017-05-07. • ^ a b Travers, Peter (1998-03-11). "Meet Joe Black". Rolling Stone (movie review). Retrieved 2017-05-07.
• ^ Ebert, Roger (1998-11-13). "Meet Joe Black". Rogerebert.com (movie review). Retrieved 2020-02-27. • ^ a b LaSalle, Mick (1998-11-13). "Colorless 'Joe Black' / Brad Pitt's Death is lethally dull, but Hopkins breathes life into overly long romance".
San Francisco Chronicle (movie review). Retrieved 2017-05-08. • ^ "Meet Joe Black". Rotten Tomatoes. Retrieved 2020-10-26. • ^ "Meet Joe Black". Metacritic. • ^ "Movie title search: BLACK". CinemaScore. Find Cinemascore. Archived from the original on 2019-08-24. External links [ edit ] Wikiquote has quotations related to: Meet Joe Black • Meet Joe Black at IMDb • Meet Joe Black at AllMovie • Meet Joe Black at Box Office Mojo • Asturianu • Azərbaycanca • Български • Čeština • Dansk • Deutsch • Español • Esperanto • Euskara • فارسی • Français • Galego • 한국어 • Հայերեն • Hrvatski • Bahasa Indonesia • Italiano • עברית • Kreyòl ayisyen • Кыргызча • Magyar • Nederlands • 日本語 • Norsk bokmål • Polski • Português • Română • Русский • Српски / srpski • Srpskohrvatski / српскохрватски • Suomi • Svenska • Türkçe • Українська • 粵語 • 中文 Edit links • This page was last edited on 2 May 2022, at 20:46 (UTC).
(screenplay) & Jeff Reno . (screenplay) and Kevin Wade . (screenplay) and Bo Goldman . (screenplay) Alberto Casella . (play) (inspiration) Walter Ferris . (play) (inspiration) Maxwell Anderson . (earlier screenplay) (inspiration) and Gladys Lehman . (earlier screenplay) (inspiration) Cast (in credits order) verified as complete Brad Pitt . Joe Black / Young Man in Coffee Shop Anthony Hopkins .
William Parrish Claire Forlani . Susan Parrish Jake Weber . Drew Marcia Gay Harden . Allison Jeffrey Tambor . Quince David S. Howard . Eddie Sloane Lois Kelly-Miller .
Jamaican Woman Jahnni St. John . Jamaican Woman's Daughter Richard Clarke . Butler Marylouise Burke . Lillian Diane Kagan . Jennifer June Squibb . Helen Gene Canfield . Construction Foreman Suzanne Hevner . Florist Steve Coats . Electrician Madeline Balmaceda .
Madeline (as Madeline N. Balmaceda) Julie Lund . Drew's Meet joe black Kay Gaffney . Boardmember Anthony Kane . Boardmember Joe H. Lamb . Boardmember Robert C. Lee . Boardmember Jim Taylor McNickle . Boardmember (as Jim McNickle) Hardy Phippen Jr. . Boardmember Stephen Adly Guirgis .
Hospital Receptionist (as Stephen Adly-Guirgis) Leo Marks . Party Waiter Michelle Youell . Party Guest Gene Leverone . Party Guest Rest of cast listed alphabetically: Eric Bruno Borgman . Van Winkle Tent Man (uncredited) Kadrolsha Ona Carole . Party Guest / Dancer (uncredited) Greg Chopoorian .
Party Guest (uncredited) Don Dailey . Party Guest / Dancer (uncredited) Brian Eggleston . Party Guest (uncredited) Marshall Factora . Chef (uncredited) Christine Jones . Miriam (uncredited) Carl Landi . Construction Worker (uncredited) Trish McGettrick . Doctor (uncredited) Rana Morrison . Lady at Party (uncredited) Josh Mowery . Party Guest (uncredited) Glenn Phillips .
Construction Worker (uncredited) Dale Resteghini . Party Guest (uncredited) Nick Stellate . Driver (uncredited) J.T. Turner . Worker (uncredited) Produced by Martin Brest . producer Celia D. Costas . associate producer (as Celia Costas) Ronald L. Schwary . executive producer David J. Wally . co-producer (as David Wally) Music by Thomas Newman Cinematography by Emmanuel Lubezki .
director of photography Film Editing by Joe Hutshing Michael Tronick Casting By Ellen Lewis Juliet Taylor Production Design by Dante Ferretti Art Direction by Robert Guerra Set Decoration by Leslie Bloom Costume Design by Aude Bronson-Howard David C.
Robinson Makeup Department Stephen G. Bishop . hair stylist Jean Ann Black . makeup artist: Mr. Pitt (as Jean A. Black) Lynn Campbell . makeup artist Jane Choi . additional assistant makeup artist Richard Dean . key makeup artist Jerry DeCarlo . hair stylist Tricia Heine . makeup artist Brenda McNally . additional hair stylist Randy Houston Mercer . key makeup artist Beth Buckwalter Miller . hair department head (as Beth Miller) Lyndell Quiyou .
key hair stylist Joe Rossi . makeup artist Rob Fitz . additional makeup artist (uncredited) Trish Seeney . additional makeup artist: Rhode Island (uncredited) Production Management Debbi Bossi . post-production supervisor Celia D. Costas . unit production manager (as Celia Costas) Jessie Ward Dugan .
post-production supervisor (as Jessie Ward) Ray Quinlan . assistant unit production manager (as Raymond Quinlan) Second Unit Director or Assistant Director Laura Cercone Fiorino . second second assistant director Terry Ham . additional second second assistant director: Rhode Island Keith J. Knight . dga trainee Amy Sayres . first assistant director Christopher Surgent . second assistant director (as Christopher J. Surgent) Art Department Joseph Alfieri . construction coordinator (as Joseph S.
Alfieri) David H. Allen . assistant props: Rhode Island (as David Haskell Allen) Tommy Allen . property master Henry Antonacchio . construction foreman William Armstrong meet joe black. stand-by scenic JoAnn Atwood . set dresser Karla J. Bailey . scenic artist Meredith Barchat . scenic artist Paula Bird .
scenic artist Tommy Boles . construction foreman: Rhode Island (as Thomas J. Boles) Steve Brennan . props Roland Brooks . chargeman scenic artist Garf Brown . scenic artist Diana Burton .
assistant property master Jeff Butcher . assistant props Rick Cardillo . construction grip Ronald Carreiro . construction grip: Rhode Island (as Ron Carreiro) Mickey Carter . props Dennis Causey . set dresser (as Dennis Lee Causey) Ed Check . assistant art director Eric Cheripka . assistant props: Rhode Island Christine Kaseta Cornelius . scenic artist (as Chris Kaseta-Cornelius) Robert Currie .
on-set dresser John Davis . storyboard artist (as John F. Davis) John S. DeSimone . carpenter Chris DeTitta . lead man (as Christopher J. DeTitta) Robert DiGrigoli . carpenter James Donahue . scenic artist Thomas C. Dragna Jr. . carpenter William Durnin . green team: Rhode Island (as Bill Durnin) Edward J. Egan III . construction grip Jennifer Engel . assistant props: Rhode Island Marcus Epps . set dresser: Rhode Island (as Marcus H.
Epps) Ray Fisher . set dresser James Fitzpatrick . construction electric John J. Flugel . set dresser Chris Fousek . construction coordinator Rafael Fraguada . set dresser: Rhode Island (as Rafael M. Fraguada) Bobbie Frankel . scenic artist Charles H.
Furey . carpenter (as Charley Furey) Gerard J. Furey . shop craftsman Paul Gaily . set dresser Shawn Gamache . set dresser Julia Garrison . painter Emily Gaunt . scenic artist Jim Gilmartin . scenic artist Tobias Haller . green team: Rhode Island Jay Halligan . construction grip Paul Halligan . construction grip (as Paul J. Halligan) Sandy Hamilton . assistant props Richard Hebrank . key construction grip Michael Herlihy .
carpenter John Holland . set dresser Jessica Johnson Tavenner . art department assistant (as Jessica Johnson) Timothy Joliat . set dresser: Rhode Island Darrell K. Keister . assistant art director Andrew W. Kenah . construction grip: Rhode Island Philip Kennedy .
scenic artist Julius Kozlowski . scenic artist Steve Krieger . lead man: Rhode Island (as Stephen Krieger) Carl Landi . construction grip Gary Levitsky . set dresser Timothy Meet joe black .
set dresser Gus Magalios . construction grip (as Constantine Gus Magalios) Peter T. Malone . stand-by carpenter Etienne Martine . set dresser Butch McCarthy .
gang boss: set dressing (as John 'Butch' McCarthy) Thomas McGrath Woods . construction grip Silvija L. Moess . scenic artist Lyvan A. Munlyn . scenic crew Robert Murphy . construction grip Charles A. Nastacio . construction grip John Oates Jr. . set dresser Vincent J. Orofino . green team: Rhode Island Susan Peterson . scenic artist: Rhode Island Richard Pfaff . carpenter: Rhode Island Elizabeth Meet joe black .
model maker Gennaro Proscia . carpenter John Ralbovsky . scenic foreman (as John A. Ralbovsky) Sonny Rea . construction grip Catherine Rooney . greensperson David Rotondo . carpenter: Rhode Island / propmaker: Rhode Island Michael Saccio . on-set dresser Michael Scarola .
construction grip Kevin Sciotto . scenic artist Clarissa Shanahan . painter Kurt Smith . construction grip Tyris Smith .
set dresser: Rhode Island Haven Storey . scenic artist: Rhode Island (as J. Haven Storey) Michael Tavani . construction grip Lynn Tonnessen .
assistant set decorator (as B. Lynn Tonnessen) Mitch Towse . set dresser Sylvia Trapanese . scenic artist Ron von Blomberg . supervising greensman Thomas White . carpenter Charlie Whitney . carpenter (as Chuck Whitney) Peter Wilcox . carpenter: Rhode Island Paul J. Wilson .
construction grip Joan Winters . graphic designer Nancy Winters . assistant art director Michael E. Allegretto . greensman (uncredited) Marc Ameruso . assistant on-set dresser (uncredited) Victoria Krasnakevich . property assistant (uncredited) Ross La Terra . set dresser meet joe black Peter Letzelter-Smith . greens (uncredited) Byron K.
Lovelace . props (uncredited) Alexandra Mazur . assistant set decorator (uncredited) Paul Robotti . scenic artist (uncredited) Ginny Walsh . property fabricator (uncredited) Patricia Woodbridge . assistant art director (uncredited) Sound Department Ron Bartlett . re-recording mixer Benjamin Beardwood . dialogue editor John Benson . foley editor Carmen Flores De Tanis meet joe black. assistant sound editor Joe Dorn . supervising adr editor Dean Drabin .
adr mixer Joe Earle . sound effects editor Don Givens . foley recordist Marilyn Graf . foley mixer (as Marilyn Graf Hubbard) Susana Guardiola . post production sound assistant Robin Harlan . foley artist Allen Hartz . adr editor Scott Hecker . supervising sound editor (as Scott A. Hecker) Barbara Issak . adr editor Chris Jenkins . re-recording mixer Kenneth L. Johnson . sound effects editor Samuel F.
Kaufman . sound recordist (as Sam Kaufman) Linda Keim . sound effects editor James P. Lay . sound effects editor Gary Lewis . dialogue editor Larry Mann . foley editor (as Lawrence H. Mann) David Melhase . adr editor Danny Michael . sound mixer Chris Miller . sound Sarah Monat .
foley artist John Murray . foley editor Mark Narramore . sound recordist Eric A. Norris . sound effects editor Ralph Osborn . dialogue editor Lauren Palmer . adr editor Jeff Rosen . adr editor Geoffrey G. Rubay . voice processing Matt Sawelson . adr editor (as Matthew Sawelson) Andrew Schmetterling .
boom operator (as Andy Schmetterling) Brian Schwary . assistant sound editor Mark Smith . re-recording mixer Anthony Starbuck . cable person James S. Stewart . foley recordist (as Jim Stewart) Cary Stratton . adr recordist (as Carey Stratton) Bill Ward . assistant sound editor Dan Yale . foley editor John Soukup . sound transfer (uncredited) Special Effects by Robert DeVine . special effects Franco Goss . specialty props John Ruggieri .
pyrotechnician Brian Van Dorn . mold maker: Anatamorphex Noel Brevick . special effects crew (uncredited) Visual Effects by Jon Alexander . compositing supervisor: ILM Chrissie England . visual effects executive producer: ILM Jack Mongovan . rotoscope lead artist: ILM Jim Morris . senior staff: ILM Michael Owens .
visual effects supervisor: ILM David Tanaka . visual effects editor: ILM Ginger Theisen . visual effects associate producer: ILM Marc Wilhite . CG technical support (uncredited) Stunts Bill Anagnos . stunt player Nick Brett . stunt player Troy Brown . stunt player Paul Bucossi . stunt player Peter Bucossi . stunt player Chris Cenatiempo . stunt player (as Christopher Cenatiempo) John Cenatiempo . stunt player Steve M. Davison . stunt player Frank Ferrara Jr.
. stunt player Frank Ferrara . stunt player Ralph Ferrara . stunt player Tony Guida . stunt player Greg Harris . stunt player Buddy Joe Hooker . stunt coordinator Gino Lucci . stunt player Steve Mack meet joe black. stunt player Ralph W. Odum . stunt player (as Ralph Odum) Michael Russo . stunt player Tommy Trama . stunt player Scott Wilder . stunt player Steve Wooten . stunt player (as Steven M.
Wooten) Eddie Yansick . stunt player Steve Mack . stunt double: Anthony Hopkins (uncredited) Scott Wilder . stunt double: Brad Pitt (uncredited) Camera and Electrical Department Lee Ayrton . lighting technician Eric Boyle . grip: Rhode Island (as Eric Edward Boyle) Arnold F. Meet joe black . grip James J.
Callahan . key rigging grip: Rhode Island Dave Cambria . meet joe black Rhode Island Phillip V. Caruso . still photographer Michael Cassidy . first assistant camera: second unit Jack Coffen . electrician William Coleman . additional camera operator Meredith Collins . second assistant camera Ray Collins . camera loader (as Raymond Collins) Howard Davidson . grip Craig DiBona . camera operator Bryan Dolan .
electrician Thomas Dolan . best boy electric Tim Driscoll . grip Michael Dynice . electrician Glen Engels . grip Gregory Farrell . rigging electrician Kevin Fitzpatrick . best boy rigging electric William L. Flanagan . grip: Rhode Island (as William Flanagan) Thomas Ford . electrician: Rhode Island Jay Fortune . gaffer Raymond Fortune . stage electrician (as Ray Fortune) Kenneth Fundus . best boy grip (as Kenneth J. Fundus) Dennis Gardner . Lighting Programmer Stephen Girouard .
electrician Dennis Green . 24 frame video operator Richard Guinness Jr. . key grip Tim Hogan . best boy rigging grip: Rhode Island Andrew Holliday . electrician Richard J. Houpeke Jr. . construction grip: Rhode Island Victor Huey . grip Fred Johanns . generator operator Robert B. Jones meet joe black. rigging grip: Rhode Island Billy Kerwick . key rigging grip (as William Kerwick) Edward T. Kerwick . rigging grip Roger Kimpton . grip Paul Lambiase . grip Sal Lanza . grip Vincent Lanza .
grip Dave Lowry . dolly grip (as David Lowry) James Malone . rigging gaffer Bobby Mancuso . first assistant camera (as Robert Mancuso) Jim Manzione . electrician (as James J.
Manzione) Frances 'Buddy' McBride . rigging electrician (as Francis J. McBride) Peter A. Mian . video assist operator James R. Mitchell . electrician: Rhode Island Tim Norman . second assistant camera John L. Oates . electrician Phil Pastuhov . aerial director of photography Brian A. Pitts . rigging electrician Joseph E. Pytel . rigging electrician: Rhode Island Brendan Quinlan meet joe black. grip Collin Quinlan . electrician James Quinlan . electrician Ed Quinn . rigging grip (as Edwin A. Quinn Sr.) William Randall .
rigging electrician: Rhode Island Peter Rowan . rigging grip: Rhode Island Michael Rudolph . electrician Meet joe black Srubshchik . 24 frame video operator Robert Tompkins . grip: Rhode Island Joseph Viano .
best boy rigging grip James F. Walsh Jr. . best boy rigging electric Rick Whitfield . 24 frame video operator Chris Bangma . assistant camera: SpaceCam (uncredited) Joe Collins . first assistant camera (uncredited) Dylan Goss . meet joe black camera operator (uncredited) Guy Holt . electrician (uncredited) Stephen Kaye . grip (uncredited) Sean Malone . grip (uncredited) Robert Mehnert . camera operator: SpaceCam (uncredited) Darren Ryan . 24 frame video operator (uncredited) Irving Smith .
video technician (uncredited) Casting Department Sophia M. Costas . extras casting associate: Rhode Island Patricia DiCerto . casting associate (as Patricia Kerrigan DiCerto) Lee Meet joe black .
extras casting assistant Barbara Harris . adr voice casting Vivian Hasbrouk . casting assistant Ann Kiker . extras casting associate: Rhode Island Costume and Wardrobe Department Timothy Alberts . wardrobe supervisor Susan Anderson . costumer: Rhode Island Joanna Brett . costumer Margaret Codola . costumer: Rhode Island Kassandra D'Alessandro . costumer: Rhode Island Marta Font . costumer Sheila Grover . costumer: Rhode Island (as Sheila Gentile) Barbara Hause .
wardrobe supervisor (as Barbara J. Hause) Joni M. Huth . seamstress Dain I. Kalas . seamstress Lisa Lesniak . costumer: Rhode Island Emily Loreto . assistant costume designer Cassy McEvoy . costumer: Rhode Island Arthur Rowsell .
wardrobe: Mr. Hopkins Hartsell Taylor . costumer Susan J. Wright . wardrobe supervisor Michael Anzalone . set wardrobe (uncredited) Editorial Department Gary Burritt . negative cutter Laurie Ann Castonguay . post-production secretary Richard Conkling .
assistant editor (as Rich Conkling) Tritia Espinoza . international editor Chris Gennarelli . dailies colorist Heather Goodwin Floyd . apprentice editor (as Heather Goodwin) Meet joe black Hetos . color timer Mark Livolsi . assistant editor Michael Matzdorff . assistant editor: avid, Los Angeles Greg Parsons . first assistant editor Amanda Pollack . assistant editor Michael Arlen Ross .
apprentice editor (as Michael Ross) Gabriel Wrye . first assistant editor Ofe Yi . second assistant editor Location Management Trish Adlesic .
assistant location manager Robert Ahern . location production assistant: Rhode Island Declan Baldwin . location manager Nathaniel Bonini .
location assistant Francis R. Brennan . location production assistant: Rhode Island Laura Franses . location coordinator Stefan Gesek . location assistant Deren Getz . location crew Shawn Mihill . location production assistant: Rhode Island Ron Rogers . assistant locations Sam Rohn . location scout Jen Roskind . location assistant Mike S. Ryan . assistant location manager Bernadine Vida .
location scout Linda Marshall-Smith . location scout (uncredited) Jennifer L. Pearlman . assistant location manager (uncredited) Music Department Bill Bernstein . music editor Chris Boardman . conductor: party music / orchestrator: party music Julian Bratolyubov . music preparation Tom Brown . music preparation Jordan Corngold . assistant music editor George Doering . musician Sean M. Hickey . music preparation Jim Hoffman .
music preparation Leslie Morris . music contractor Thomas Pasatieri . orchestrator Angie Rubin . music editor Marni Sanders . copyist Dennis S. Sands . music scoring mixer (as Dennis Sands) Steven L. Smith . music preparation Curt Sobel . music editor: temp track Paul Wertheimer . score recordist Richard F.W. Davis . additional music editor (uncredited) Michael Jay . additional music sequencing programmer (uncredited) Script and Continuity Department Lisa Katcher .
script supervisor Transportation Department Mike Buckman . driver Joseph Buonocore . driver Michael Buonocore . driver Francis Connolly Jr. . transportation co-captain (as Francis J. Connolly Jr.) Brendan P. Connolly .
driver Ronald Gildea . driver (as Ronald T. Gildea) Brian Hogan . driver Herb Lieberz . driver Jimmy Mahr . driver Scott Mundy . driver Timothy Paustian . driver (as Timmy Paustian) Frank Röth . driver Timothy Shannon . transportation co-captain Stephen Silva . driver James Patrick Whalen Jr. . transportation coordinator Additional Crew Eric Agopian . set production assistant Tamsin Anstey . accounting clerk John M. Antonacchio . on-set medic Tamara Bally . production auditor Melanie Bell . assistant: Mr.
Schwary Jeff Berger . assistant: Martin Brest Margaret Braun . cakes designer Cyndi Brenner . assistant production office coordinator Al Cerullo . helicopter pilot Remy Chong . assistant: Mr. Wally Susan Christy . craft service: Rhode Island Amy Clark . set production assistant Jennifer Cogswell .
barge production assistant: Rhode Island (as Jennifer D. Cogswell) Jeffrey Corazzini . stand-in Sara Corrigan . video coordinator Marianne Crescenzi . assistant production coordinator: Rhode Island Paul Dallanegra . security officer Johnny Egan .
set production assistant Wayne Forman . caterer Steve Ginsburg . office assistant Jae Stein Grainger . payroll clerk Brendan Gunn . dialect coach Tina Hamilton .
set production assistant Cheryl Hendrickson . set production assistant Rebecca Henriques . craft service assistant: Rhode Island Brandon Hollyer . additional production assistant: Rhode Island Jay Johnson . main title design Larry Kaplan .
unit publicist Takahide Kawakami . set production assistant (as Taka Kawakami) Chad Keller . stand-in Linda Krauss . office assistant Keri Lederman . assistant production coordinator (as Keri Lynn Lederman) Monica Levinson . production coordinator Kate D. Lewis . set production assistant David Lindsay .
security officer Karen Lockhart . stand-in Todd Lubin . office assistant Anthony S. Maggiacomo . craft service assistant: Rhode Island Pierre Makhoul . security officer Erik Malkovich . set production assistant Kara Malkovich . set production assistant: Meet joe black Island Mike Martin . aggreko generator operator James Maull . post-production accountant Terry McAllister . security officer Frank McKenna . craft service (as Francis J.
McKenna) Michael McKenna . craft service (as Michael L. McKenna) Peter McKernan . aerial coordinator (as Peter J. McKernan) Robert Mehnert . aerial unit director Frank Metzger . supplier: bird box Jerry Mitchell . dance consultant: Rhode Island Julia Morgan . set production assistant Jamie Mullins . assistant: Dante Ferretti Edmund Nardone . projectionist Malve O'Meara . set production assistant: Rhode Island Wayne Petrucelli .
security coordinator (as Wayne Petrocelly) Douglas Plasse .
set production assistant Matt Power . set production assistant: Rhode Island Jeremy D. Pratt . armories manager Doug Pursley . shop/stage production meet joe black Judy Pursley . first assistant accountant Kim Quam . set medic Jodi Reiner . assistant: Anthony Hopkins / set production assistant Julio Ribot . shop/stage production assistant Heather Riccabona . set production assistant Olimpia T.
Rinaldi . second assistant accountant Vernon Rodriquez . parking assistant Sharon M. Segal . accounting assistant: Rhode Island Darryl A. Smith . payroll accountant Ron Meet joe black . fireworks coordinator: Rhode Island Amanda Taylor . set production assistant José Tejada .
parking coordinator Irapaul Turner . armories manager (as Irapaul Xavier Turner) Kim Villanueva . stand-in David Wenzel . stand-in Stephen Whelan . production associate William W. Wilson . stand-in (as Bill Wilson) Terrence Beasor . ADR (uncredited) Edoardo Ferretti . production assistant (uncredited) Melvin James . production assistant (uncredited) Karen Mahan .
production assistant (uncredited) George A. Parker . projectionist: VistaVision (uncredited) Thanks Lincoln Chafee . special thanks (as Mayor Lincoln Chafee) Delia E. McDermott . special thanks Paulette M. Turcotte .
special thanks Storyline • Taglines • Plot Summary • Synopsis • Plot Keywords • Parents Guide Did You Know? • Trivia • Goofs • Crazy Credits • Quotes • Alternate Versions • Connections • Soundtracks Photo & Video • Photo Gallery • Trailers and Videos Opinion • Awards • FAQ • User Reviews • User Ratings • External Reviews • Metacritic Reviews TV • TV Schedule Related Items • News • Showtimes • External Sites
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Bill Parrish (Anthony Hopkins), businessman and devoted family man, is about to celebrate his 65th birthday. However, before he reaches that landmark, he is visited by Death (Brad Pitt), who has taken human form as Joe Black, a young man who recently died.
Joe and Bill make a deal: Bill will be given a few extra days of his life, and Joe will spend the same time getting to know what it's like to be human.
It seems like a perfect arrangement, until Joe falls in love -- with Bill's daughter. • All Critics (49) - Top Critics (13) - Fresh (22) - Rotten (27) Full Review… Lisa Alspector Chicago Reader Full Review… Ann Hornaday Baltimore Sun Full Review… Joe Morgenstern Wall Street Journal Full Review… Michael O'Sullivan Washington Post Full Review… Paul Tatara CNN.com Full Review… Owen Gleiberman Entertainment Weekly Full Review… Total Film Staff Total Film Full Review… John Ferguson Radio Times Full Review… Philip French Observer (UK) Full Review… Zaki Hasan Zaki's Corner Full Review… Zaki Hasan Philadelphia Weekly Full Review… Rob Gonsalves eFilmCritic.com Far longer than it needs to be, and pretty silly at times, but unforgettable and fascinating.
There's nothing out there like this film. It's a great look into the human mind and how it interacts with its environment, as shown in Pitt's almost childlike portrayal of Death.
Good story, fantastic music and atmosphere.I just love how a lot of the scenes are set up in this film. Very unique. This movie really makes no sense, but I still enjoy it a lot by the grace of the willowy and wounded Claire Forlani. Death has been around since the beginning of time (just ballparking it), so how is he still so ignorant about friendship, passion, sex, success, greed, revenge - the ways of the world, essentially, including colloquialisms about Death and taxes?
One would think he'd have a human dalliance every decade at least. The character is written to be a wide-eyed simpleton, and they had to pick the actor meet joe black the worst face and voice for that: Brad Pitt.
He's so dead-eyed and dumb-sounding.
• Home • Store • Channels • Categories • Top categories • Included with Prime • Amazon Originals • Movies • TV • Kids • Sports • Genres • Action and adventure • Anime • Black voices • Comedy • Documentary • Drama • Fantasy • Foreign • Horror • LGBTQ • Military and war • Musicals • Mystery and thriller • Romance • Science fiction • Coming of age • Other categories • New Releases • Award winners • Audio descriptions • Featured deals • Watch Party • My Stuff • Deals • Settings • Getting Started • Help Supporting actors Jake Weber Producers Martin Brest Studio Universal City Meet joe black Product Rating PG-13 (Parents Strongly Cautioned) Content advisory Alcohol usefoul languagesexual contentviolence Purchase rights Stream instantly Details Format Prime Video (streaming online video) Devices Available to watch on supported devices This film, hopefully, will jog the memories of those too jaded to remember what America used to be like and what integrity used to mean.
It is truly a masterpiece and a dinosaur. To all who participated in creating this sacred art: we donâ€™t have enough accolades to commend this. Depicting true love and long lost integrity and honor in business;the score, the story, the writing, casting, acting and directing are engrossing,absorbing magic. If art lovers go to the Louvre,film lovers devour this. It could never be too long. To watch the dance of Hopkins, Pitt and Meet joe black is to experience the finest actors in roles which show their chops in depth,nuance and serious challenges.To everyone involved:my most sincere thank you.
I only wish this film were shown in high schools so kids could experience the value of values, integrity and love worth waiting for. 81 people found this helpful I'd heard of "Meet Joe Black" before, and played with watching it, but I kept turning away because of that "three-hour movie" thing.
However, I found myself captivated from the first minute to the last. This is an excellent movie, showing the best side of Sir Anthony Hopkins, Brad Pitt and Claire Forlani. Forlani, by the way, is not what I'd call a "supporting actress." She didn't upstage Hopkins and Pitt, but she definitely carried her own.
In reading the reviews, I'm blown away by those that gave it a low rating. Slow? Is life always packed full of high action? On the contrary, I was surprised when the movie ended. It sure didn't feel like three hours. Boring? Not on your life. Anthony Hopkins wakes up and hears his own voice say, "Yeeesss" and I'm hooked. This was far from boring. Bad acting? You have to be kidding me. Suspension of disbelief - that thing that all movie creators crave - wasn't hard at all.
I was captivated by all the actors and actresses, from the big hitting stars to meet joe black island woman in the hospital.
(who, by the way, is one of my favorite characters!) There are so many favorite sayings and scenes. but the one that sticks with me is "I wish you could have met my father." Don't miss this great movie! 82 people found this helpful Based on the book, "Death Takes A Holiday", it is the story of Death coming for an executive, Anthony Hopkins and being intrigued by him and the life he's led. He decides to learn more. (somewhat spoiler alert!) He shows up at Parish's/Hopkins New York mansion unannounced in another victim's body.
The victim is a handsome young man, played so well by "Brad Pitt", who the executive's daughter, Susan, he had run into earlier in her day. In his quest to understand this highly moral man he gets close to his daughter and falls in love with her and she him. Along the way death rights some wrongs and finally comes to understand the man he is sent to bring back with him. This is Pitt at his best and watching him move thru the first scene when he is perfunctory and all business to the last when he is amiable and compassionate is fabulous.
Other stars in the movie are Marcia Gay Harden as the older daughter who always knew her father loved her sister best. Her wonderful former jock husband played by Jeffery Tambor meet joe black is honest and can't believe his luck to have Allison (Harden) actually love him. Running parelle is a plot to take over Parish Communications business by a slimy junior excutive, played by Jack Weber.
All give great performances. One of the best scenes is in the hospital when a Jamaican woman sees him for who he really is and thinks he's coming for her.
In her frightened state Death (Pitt) calms her by saying he isn't evil and shows her where she will be when her time is over. As Death meet joe black empathy he is now confronted with the inevitability of knowing heartbreak, with his love for Susan. (Clair Forlani, who Pitt dated for awhile). He overcomes his selfishness to realize he can't stay with her and he can't take her with him.
23 people found this helpful I donâ€™t know why I held off for so long seeing this movie. It felt like a movie that I should have seen, a classic, one of Anthony Hopkinâ€™s and Brad Pittâ€™s best roles (and Claire Forlaniâ€™s, though this is I think the first film of hers that I have seen and I am not really familiar with the actress).
I didnâ€™t know what to expect and I wasnâ€™t familiar with the film that inspired it, the 1934 film _Death Takes a Holiday_. It was wonderful. It is a long film, about 3 hours, and while the pacing is never dull or slow, it is stately at times shall we say (I was never bored though).
Casting is fantastic, the three leads are just marvelous, and the story swept me away. The ending was wonderful and really stuck with me, really rather magical with the story, the acting, the lighting, setting, and music. The film is basically, as suggested by the other film title I mentioned, Death goes on a vacation. Death takes over the body of a young man who appears to have (maybe?) been killed in a car accident, the body belonging to a young man who flirted with and caught the eye and interest of Claire Forlaniâ€™s character, Susan Parrish, the two meeting in a coffee shop in New York before Susan goes to her work as a doctor at a hospital and the man goes to get involved in a car accident.
Susan is the youngest daughter of a billionaire media tycoon, Bill Parrish (Hopkinsâ€™ character), the man who initially caught Deathâ€™s eye. He decides to take the body of the young man and join Bill, telling Bill he is staying an indefinite amount of time, Bill will be his guide, and he need not fear death while Death is with him.
Death wants to not only take maybe a break from his job, but more importantly experience the life part of humanity, of inhabiting a body, interacting with people, trying foods, experience the life of a mortal, especially their daily lives.
The movie could have been a comedy, of Bill trying ever crazier stunts knowing he couldnâ€™t die, or Death going wild and hedonistically plunging meet joe black sensory experiences. Neither happens. Death is overwhelmed by the sensory experiences, from finding he now has a favorite food to when he meets Susan, who thinks he is still the man she met in the coffee shop.
Bill, not going crazy at all, concentrates on doing right for his family and getting his affairs in order, most importantly making up meet joe black his eldest daughter, a woman who knows she is not his favorite (Allison Parrish, played by Marcia Gay Harden) meet joe black fighting to keep his company from being ripped from his grasp and reworked in a way he detests (there is a corporate villain in the film too).
As Bill comes to find out what in life is the most valuable, Death comes to value life. There is a lot to like, from how Bill is changed by not only knowing he will soon die but also by Deathâ€™s personality and effects on his life to how Bill and living in a body changes Death to how Death and Susan interactâ€¦itâ€™s a great love story, itâ€™s a story of what is important in life, a love letter to life itself though that sounds pretentious when I write it. I enjoyed the corporate drama, the romance story, of Billâ€™s and Deathâ€™s philosophical discussions, of glimpses meet joe black life in the late 1990s, before 9/11, social media, and widespread cell phone use, I loved the fairytale feel of the ending of the film.
Pitt can definitely act, Hopkins is always a joy to watch, and Claire Forlani was not only a phenomenal actress but a stunningly beautiful woman.
It is marvelous. 13 people found this helpful Thanks you in advance for reading Meet Joe Black is a 1998 American romantic fantasy film directed and produced by Martin Brest, and starring Brad Pitt, Anthony Hopkins, and Claire Forlani.
The screenplay by Bo Goldman, Kevin Wade, Ron Osborn and Jeff Reno is loosely based on the 1934 film Death Takes a Holiday. Death (Brad Pitt) takes human form, asking a principled widower (Anthony Hopkins) to guide him in exchange for more time on Earth.
As with â€˜Legends of the Fallâ€™, the decision to cast both Brad Pitt and Anthony Hopkins is responsible for much of this film's success. Meet joe black relationship, despite being mutually respectful, is leveled by their own unique behaviors and similar cadences.
Pitt and Hopkins both do much of their speaking with their eyes, so there is no speech needed meet joe black understand the tense nature of their extenuating circumstances. Pitt and Hopkins are both calm and direct, so there is no need to guess what either of them are thinking or feeling at a given time. Perhaps this movie's greatest strength is the way in which death(Joe) is designed as a character. Unlike other films in which death is personified, Joe is not polarized as simply being a force of good or evil; more than that, he's represented as someone who has a job they must do despite their being negative associations made with it.
In addition to this, other characters treat Joe in a myriad of ways that reflect realistic attitudes people have towards death. At times, death is an inconvenience that makes others do things they may not do otherwise.
Other times, death is welcomed as an opportunity to end pain and bring an end to some form of suffering. Regardless of how one feels about death it is always meet joe black in the background - whether we like it or not - and that is a powerful sentiment regarding acceptance for our own mortality. Previous critiques have mentioned this film as moving at an undesirabley slow pace. To address these concerns, some versions of this film have cut out parts related to Bill Parrishâ€™s business.
I can only make comments about this omission in retrospect of course, but meet joe black would be fair to suggest that these scenes are largely unnecessary when taking the overarching plot into consideration. On the other hand, the interactions Joe has with Williamsâ€™ coworkers makes his role as what is essentially the Grim Reaper less arbitrary and more holistic. Annoying? Potentially so.
Meet joe black I mentioned above, however, death is meant to be represented as a force that respects no rules and is a perverse presence in the most privileged of lives.
Why would they make an exception for someonesâ€™ job (and the entirety of their livelihood) when they clearly canâ€™t make one for the day in which someone is celebrating the day they were born? You tell me, I guess. Some might accept this film to be a debbie downer - but that, it is not. Instead, this is a beautiful reminder to appreciate the little things and not sweat the small stuff. In addition to that, every moment (Even the seemingly trivial) granted is a gift and should be lived out as if it is your last.
Wherever life's joys may be found - albeit in eating peanut butter out of the jar or falling in love - they are all worth looking for and should be doted on as appropriate or whenever possible. A true classic with a powerful message about death: I would recommend! 6 people found this helpful Meet Joe Black is an excellent film in every respect, yet it was originally given a cold shoulder by the critics and public and has never quite recovered from its initial release and remains more obscure than it should be.
Lavishly made with a very large budget and a notable cast, it was obviously intended to be one of the big hits of the Christmas Season of 1994. But the public seemed uncomfortable about the subject of death around the holidays, even if Death was played by Brad Pitt and the film ultimately very life-affirming.
While not a bomb - it had a respectable gross - its expensive production costs kept it from being labeled a hit. The critics also seemed to generally trounce the film not only for its three hour run time but also on a mistaken notion about the original film from the thirties, Death Takes a Holiday, on which it was based. A film like this which invites one to consider the meaning and value of life is simply not something to toss off in ninety minutes.
The fully fleshed-out characters each have their own subplots and relationships to each other and need to be given time to work meet joe black things out. The criticism that it was slow moving completely misses the point that the film is a serious meditation upon life and death and not another installment in the Fast and Furious series.
More baffling yet was the idea put forth by a number of critics that it was untrue to the original film, in which they imagined Death to have been a character such as would be played by George Saunders or Clifton Webb, full of dark and barbed commentary, sophisticated and jaded and tossing off witty lines at a brisk pace.
In fact, none of these critics actually saw the original, as Death is played as so overcome by embodiment that he is practically mute throughout the whole film.
This is how Brad Pitt plays Death at first, but he quickly takes the characterization to new levels that include humor, tenderness and compassion. It is in fact a very fine performance ignored by critics who blamed him for not doing it in a way that it was never done. What you do get is an excellently crafted film with beautiful lighting and photography, opulent sets and a notable musical score that adds a mood of mystery and wonder to the proceedings and ends with a symphonic resolution of Brucknerian proportions.
The cast works wonderfully together with Anthony Hopkins at its head, giving a fantastic performance as the patriarch given a reprieve from an immediate demise so he can serve as Death's tour guide for a brief time.
Hopkins fully endows the media mogul, William Parrish, with depth and complexity, with emotions that range from the most poignant tenderness to angry outbursts of Shakespearean fury. The rest of the Parrish meet joe black is equally complex including a favored daughter who has to find her own career outside the family's wealth (Claire Forlani), the less-loved daughter who strives hard to impress her negligent father (Marcia Gay Harden), and her husband who feels absolutely insecure and out of his depth with the rest of the family (Jeffrey Tambor).
The movie is full of humor and though serious, is neither somber or depressing. It is in fact a joyful film that deserves a wider audience. When you're in the mood for a really big film and have the time, give Meet Joe Black a chance. 69 people found this helpful This must have been one of meet joe black better movies for Brad Pitt's talents to shine as his good looks might have otherwise hampered those talents to be noticed.
The story is about the Angel of Death assuming the body of Pitt after Pitt's sudden death, and then reemerging to accompany a dying tycoon's last days on earth as part of a self-interest to educate the Angel on worldly affairs.You must of course believe the story as presented and avoid the technicalities and conflicts with religious aspects to interfere with the plot. Anyways, passing this stage, I found the movie quite intriguing and enjoyable to watch. It is also a love story of some sort that plays out Forlani's character as an unexpected love interest for the Angel.
The lead actors' performances are outstanding particularly Hopkins, Pitt and Forlani. The rest of the cast are stepping up to the plate with minor imperfections. The movie is three hours long but I have managed to meet joe black it at least four times without getting bored. The key is to allow yourself the entire time to watch it from the beginning as the small intricacies in the scenes gradually build up for the following scenes to make sense. 16 people found this helpful Good cast, descent acting portrayal, nice background settings, quality scenery locations.
On and On but still whole concept was just not up the level of a third grader to be fooled. Too many flaws in part played by B. P.
in spite of very hard role to keep a straight face without giving plot away. His female fatale was lovely to say least and definitely the star of show in her own right. The interaction between three major actors was well executed to keep the boredom level to a minimum.
The love scene was first major blow to cover up of story line. The ending scene (lets not spoil every thing now.) was just plain ridiculous and gave no closure to movie. It was the time when you finally realized you just wasted the full time hoping for some redemption - but it never came. Save your hard earned money - go fund a worthy cause. you'll feel much better. Amazon Music Stream millions of songs Amazon Advertising Find, attract, and engage customers Amazon Drive Cloud storage from Amazon 6pm Score deals on fashion brands AbeBooks Books, art & collectibles ACX Audiobook Publishing Made Easy Alexa Actionable Analytics for the Web Sell on Amazon Start a Selling Account Amazon Business Everything For Your Business AmazonGlobal Ship Orders Internationally Home Services Experienced Pros Happiness Guarantee Amazon Ignite Sell your original Digital Educational Resources Amazon Web Services Scalable Cloud Computing Services Audible Listen to Books & Original Audio Performances Book Depository Books With Free Delivery Worldwide Box Office Mojo Find Movie Box Office Data ComiXology Thousands of Digital Comics DPReview Meet joe black Photography Fabric Sewing, Quilting & Knitting Goodreads Book reviews & recommendations IMDb Movies, TV & Celebrities IMDbPro Get Info Entertainment Professionals Need Kindle Direct Publishing Indie Digital & Print Publishing Made Easy Prime Video Direct Video Distribution Made Easy Shopbop Designer Fashion Brands Woot!
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