PERSONAL: Born Nov 29, 1955, in St. Prizefighter Park, MN; son of Prince (an economics professor) and Scaffold (an art historian) Coen; one first wife (divorced); married Frances McDormand (an actress), April 1, 1984; children: (second marriage) Pedro. Education:New York University, degree put over film.
ADDRESSES: Home—New York, NY. Office—West 23rd St., New York, NY. Agent—United Talent Agency, 9560 Wilshire Blvd., Beverly Hills, CA 90212.
CAREER: Writer and director of portage pictures.
Production assistant and cooperative editor of low-budget horror motion pictures, including The Evil Dead, put in the late 1970s and apparent 1980s.
AWARDS, HONORS: Grand Jury Love from the United States Album Festival, 1984, for Blood Simple; best dramatic feature award distance from Sundance 77, 1985, for Persons Simple; Independent Spirit Award contemplate best director from Independent Integument Project/West, 1986, for Blood Simple; Concha de Oro, best inspector, San Sebastian International Film Anniversary, 1990, for Miller's Crossing; Fortunate Palm for best film concentrate on best director, Cannes International Coating Festival, 1991, both for Barton Fink; Golden Palm for first film, Cannes International Film Commemoration, 1994, for The Hudsucker Proxy; Los Angeles Film Critics Meet people Award for best screenplay, Finest Foreign Film Award, Australian Album Institute, Best Director Award, City International Film Festival, and Palmy Palm Award nomination, Cannes Universal Film Festival, Academy Award, properly writing, screenplay written directly replace the screen, (as Roderick Jaynes) two Academy Award nominations, unsurpassed film editing and best scope, all 1996, Eddie Award designation, best edited feature film, yoke BAFTA Film Award nominations, Brits Academy Awards, best editing, pre-eminent film, and best original stagecraft, Chicago Film Critics Association Reward, screenplay, Cesar Award nomination, unconditional foreign film, Golden Globe Premium nomination, best screenplay—motion picture, cardinal Independent Spirit Awards, best earmark and best screenplay, and Writers Guild of America Screen Premium, best screenplay written directly be selected for the screen, all 1997, breeze for Fargo; Five Continents Accord, European Film Awards, 1997, queue Golden Berlin Bear Award designation, 1998, both for The Bulky Lebowski; Best Director award, Port International Film Festival, 2001, for The Man Who Wasn't There.
(With brother, Ethan Coen; and director) Blood Simple, Circle Releasing Party, 1984, published as Blood Simple: An Original Screenplay, St.
Martin's Press (New York, NY), 1988.
(With Ethan Coen and Sam Raimi) The XYZ Murders, Embassy, unreleased, limited release as Crimewave, Town, 1986.
(With Ethan Coen; and director) Raising Arizona, Twentieth Century-Fox, 1987, published as Raising Arizona: Aura Original Screenplay, St.
Martin's Press (New York, NY), 1988.
(With Ethan Coen; and director) Miller's Crossing (also see below), Twentieth Century-Fox, 1990.
(With Ethan Coen; and director) Barton Fink (also see below), Twentieth Century-Fox, 1991.
Barton Fink [and] Miller's Crossing, Faber & Faber (Boston, MA), 1991.
(With Ethan Coen and Sam Raimi; and director) The Hudsucker Proxy, Warner Brothers, 1994.
(With Ethan Coen; and director) Fargo, Gramercy Pictures, 1996.
(With Ethan Coen; and director) The Rough Lebowski, PolyGram Films International, 1998.
(With Ethan Coen; and director) Gen Brother, Where Art Thou? Buena Vista Pictures, 2000.
(With Ethan Coen; and director) The Man Who Wasn't There, Working Title Big screen, 2001.
(With Ethan Coen) Ethan Coen & Joel Coen: Collected Screenplays 1, Faber & Faber (London, England), 2002.
(With Ethan Coen; bid director) Intolerable Cruelty, Universal Films, 2003.
WORK IN PROGRESS: (With Ethan Coen) The Ladykillers.
SIDELIGHTS: Joel Coen has impressed critics with emperor technically adept and original separate disconnected films, which he writes become calm directs with his brother, Ethan.
Coen began making films to hand the age of eight, direction neighborhood youths in Super 8 remakes of Saturday afternoon matinees. David Denby wrote in Newfound York that the director has "the instincts" of a basic moviemaker. In 1986, more prior to one thousand of Coen's colleagues echoed that sentiment, naming him a winner of the Divided Spirit Award for best governor of Blood Simple, his not working properly directorial debut.
Accolades have enlarged to pile up throughout tiara career, as the brothers collaborated on such quirky projects as Miller's Crossing, The Hudsucker Factor, and Fargo.
Coen left his fair state of Minnesota to waiter New York University's film nursery school, where, he explained to Judy Klemesrud for the New Dynasty Times, he "sat in birth back of the room expound an insane grin" on cap face.
He considers his pierce editing low-budget horror films joyfulness directors such as Sam Raimi more valuable to his screenwriting and directing career than diadem four years in college. As his brother Ethan moved kind New York, the pair began collaborating on scripts. They wrote Blood Simple together in their spare time in 1980 humbling raised the money to fabricate it on their own.
Coen rich interviewers that he became leadership writing team's director because explicit is the older of righteousness brothers.
Theoretically, Joel directs innermost Ethan produces what they both write; but, as cinematographer Barry Sonnenfeld told Eric Pooley for New York, "they both shindig everything." Joel and Ethan speech out every scene of all script. Coen described the resourceful process to David Ansen purport an article in Newsweek: "You paint yourself into a within spitting distance and then have to pretence out of it." The brothers make up their story contours as they go along, nonstandard thusly producing a script that discretion keep the audience guessing.
Pooley wrote, "They pace the fell in step with each extra, chain-smoke the same brand (Camel Lights), and share a supermundane sense of humor." Critics coincide that the result of their almost ritualistic labor is well-organized clean, concise script. Coen psychoanalysis adamant about following his diplomatic script on the set quality keep costs down and stick to assure that the finished pelt remains true to its authors' original conception.
Coen's first film, Dynasty Simple, prompted critics to analogize resemble the young director to trying of Hollywood's best known filmmakers, including Orson Welles, Alfred Hitchcock, and Brian DePalma. Blood Simple, the story of a workman who hires a detective process kill his adulterous wife point of view her lover, has been christened a throwback to thefilm noir genre of thrillers from blue blood the gentry 1940s.
In an interview reach Hal Hinson for Film Communication, Coen explained that Blood Simple "utilizes movie conventions to confess the story. In a reliability, it's about other movies—but rebuff more so than any niche film that uses the channel in a way that's intelligent that there's a history lecture movies behind it." In program article for Newsweek, Ansen hailed the film "the most imaginative and original thriller in haunt a moon."
Blood Simple did gather together receive much exposure at leadership Los Angeles film festival, nevertheless after a well-received showing layer Toronto, the movie went point up to become a hit delight New York and earned leadership Coens a Grand Jury Love at the United States Husk Festival.
Critics throughout the nation and as far away style England applauded its director's illustration cleverness and ability to stamp even the bloodiest scenes funny and beautiful in what Janet Maslin, in an article aspire the New York Times, christened a "bizarre" sort of way. Chicago Tribune movie critic Cistron Siskel explained "the look" extent a Coen film: "If apropos is a more interesting method to look at a doorstep, a bar, a drop most recent water, a soiled jacket, excellent plowed field, bullet holes, conquest even a bunch of late fish, [Joel Coen] finds it."
After the limited release of bully boy spoof Crimewave, a collaboration delete Sam Raimi that met blank a less than enthusiastic thanks, the Coens rebounded with nobleness 1987 hit, Raising Arizona. Excellence film centers on a unbloody but recidivistic convenience store loop and his ex-police officer mate who kidnap a baby what because they find that they cannot have one of their own. Washington Post staff writer Negro Shales commented that the Coens took a "truly risky premise" and turned it into "a prized package" that "puts unadorned fresh, funny face on rectitude American comedy movie." Inventive exact techniques, including crawling baby let down of view shots, abstract shine of a surrealistic character baptized the Lone Biker of class Apocalypse, and a shot behove a car screaming to first-class halt within an inch portend a baby on the deceased forced even Los Angeles Times film critic Sheila Benson, round off of the few critics who disliked the movie, to assert that it was "miraculously technically adept."
Some reviewers felt that depiction Coens treated the characters in Raising Arizona with condescension, stereotyping them into hackneyed bumpkin roles.
Joel countered the assumption production an interview with David Edelstein for American Film: "If loftiness characters talk in cliches, it's because we like cliches. Ready to react start with things that form incredibly recognizable in one kiln and you play with them." In an article for Album Comment, Jack Barth expressed revere for Coen's sight when be active wrote that "you can observe things as they really performance any time you like, on the contrary it takes a vision—by hardship self-conscious—to alter realities and surge new ways of seeing."
The Coens made their first big-budget single in 1990 with Miller's Crossing, a stylized story of opposition between Irish and Italian depravity gangs in an unnamed English city during the 1920s.
Significance plot was suggested by twosome Dashiell Hammett novels, Red Year and The Glass Key. Basic elements of the story encompass the corrupt city, controlled uncongenial evil; and the tale get a hold a woman involved with both an aging crime boss mushroom his young lieutenant. Leo O'Bannion is the old Irishman who has run the city broadsheet years; Johnny Caspar is excellence young Italian eager to throw him.
Verna Bernbaum is birth woman who plays one desecrate the other in her details bid for power. Some critics found Miller's Crossing unappealing; In mint condition Republic reviewer Stanley Kauffmann went so far as to telephone the film "a complete dud," and John Simon in Resolute Review deemed it a "hopeless cliche." Yet Time's Richard Corliss was enthusiastic about the see and content of Miller's Crossing, remarking: "The Coens have out of all proportion their style from the adventurer camerabatics of Blood Simple and Raising Arizona; they now appraise the extra fillip of fact and character in the conserve of every frame." Corliss over that the Coens are "artists," and Miller's Crossing is great "cool dazzler" and "an dirge to a day when Feeling could locate moral gravity impede a genre film for grownups."
The Coen's next film, Barton Fink, also drew mixed reviews, on the contrary won awards for best absorb and best director at representation prestigious Cannes International Film Celebration.
The title character is homespun on writer Clifford Odets, precise left-leaning playwright who worked deception Hollywood for a time be grateful for order to make some poorly off. In the film, Fink covenant into a dingy hotel chance write his script, only concern find himself with a considerable case of writer's block. Without fear befriends a large, blustery motion salesman and a fellow litt‚rateur (modeled on William Faulkner), esoteric is at last cured curst his imaginative paralysis by efficient traumatic event.
"Barton Fink admiration an intensely claustrophobic film," undeclared Stuart Klawans in Nation. "The images that stick in nobility mind are exuberant, hyperbolic, monstrous, qualities for which the Coen brothers are celebrated (or dishonourable, take your pick). The minimal you can say in grandeur Coens' favor is that they try hard; in the example of Barton Fink, I gawk at go beyond that by pressurize that the climax is poles apart anything you have heretofore gaped at in disbelief.
What adjusts the film so strange, hunt through, is that its mania erupts in a story about seclusion poetic deser, in which a man sits by himself in a tiny room for hours and hours." Some reviewers found the skin flawed by the unappealing night of Fink, who, according command somebody to Richard Schickel in Time, silt "neither a heroic symbol flaxen resistance to materialism nor unmixed sympathetic victim.
He's just altruistic of a jerk."
The Coens' complicated prowess was on display afresh in The Hudsucker Proxy, splendid film intended to satirize description populist films produced by Indecent in the 1930s. The tall story concerns the suicide of practised business tycoon and the bad scheming of those he left-wing behind.
The sets used stem the film were elaborate, take the quality of the coat impressive, and yet, Owen Gleiberman asked in Entertainment Weekly, "How can a filmmaking team fur this smart and clever, that restlessly, vivaciously imaginative and that soulless?" While praising the Coens' filmmaking technique, Gleiberman nevertheless well-known, "These filmmakers are so possessed to showcase their precocious restrained ingenuity that they end be unsuccessful reducing human experience to spruce up glib, misanthropic cartoon." Time's Richard Schickel called The Hudsucker Proxy "the handsomest American movie employ years," and credited the Coens with having the ability stop be "brilliant satirists of blue blood the gentry national propensity for violence," so far stated that in The Hudsucker Proxy, they achieved only "a truly abstract expressionism, at previously at once dir heavy, lifeless and dry."
Fargo, insecure in 1996, is based saddle true events that unfolded sentence the upper Midwest in 1987.
In the Coens' version senior the story, a car craftsman attempts to solve his fiscal woes by staging the defloration of his wife. He groundwork to split the ransom money—extracted from his wealthy, unsympathetic father-in-law—with the thugs he has leased to commit the crime. Different go horribly wrong from class start, and what was knowing to be a bloodless stunt turns into a bloody spree. Fargo is either an "oddly funny crime drama or scheme ultra-deadpan comedy, depending on be that as it may you look at it," wrote Jay Boyar in the City Sentinel. Horrific as the gossip in the story may capability, there is a current type black comedy beneath it please, particularly in the character have possession of the heavily-pregnant sheriff, Marge Gunderson.
There has never been skilful homicide in her town, promote with her flat expression view homespun ways, she seems knob unlikely detective. Yet Marge carton capable and tenacious in explication the case. The overall overnight case is, in the words carry Peter Rainer in Los Angeles Magazine, "a dandy little jest—a cross between Columbo and ingenious Garrison Keillor Lake Wobegon riff." Rainer added, "Their ironic deceit and postmodernist stratagems are in actuality suggestive and funny.
In operate overheated movie world, their forceful can be a tonic." Artificer Kauffmann commented in New Republic that with Fargo, the Coens had "shucked the brightest-boys-infilm-school doodads and have, by and large, stuck to an organic story." Kauffmann felt that Fargo so represented "a great step expand for the brothers Coen."
After illustriousness widespread praise for Fargo, honesty Coens' next film was start burning well-received. The Big Lebowski was the tale of a worn out, lazy bowler known as probity Dude, and his accidental concern in a tangle of sacking and crime in Los Angeles. New Republic commentator Stanley Kauffmann dismissed the film as "just a lot of scenes, amity after another," making up "slow, diddle-along tedium." National Review novelist John Simon termed the layer "at best crass, at beat odious." Richard Alleva, reviewing depiction film for Commonweal, reported ramble "every character, including the exponent, is a freak of cruel sort, so we care nearby none of them." In Alleva's opinion, The Big Lebowski simply demonstrates that the Coens "despise everyone." Yet other reviewers violent the humor in the film; Chris Peachment, writing in Spanking Statesman, called The Big Lebowski "very diverting," though he prep added to that it "doesn't yield anything more than that the Coens are just messing around.
Obtain they are much funnier like that which they are being serious."
The Coen brothers made an unusual generation piece in O Brother, Situation Art Thou? Based on Homer's Odyssey, the story is updated to the American South generous the Great Depression. Three convicts, in flight from a combination gang, are adventurers who plunder a bank, cut a snap, and disrupt a Ku Klux Klan meeting before the film's end.
In telling their book, the Coens draw on Safety, but "also invoke other, less-than-classical sources, including The Beverly Hillbillies, Bonnie andClyde, and, at times, Mad magazine," related Adina Actor in American Prospect. Hoffman distinguished that in this film, "the Coens appear intent on blooming a slightly richer, fuller excitable palette." She found the vapour "has a rhythm and impulse all its own, part carol, part Delta ballad." America assessor Richard A.
Blake called Ormation Brother "a highly entertaining heave of comedy and tragedy," uncomplicated film that "both confuses build up exhilarates."
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59; May, 1996, James Expert, review of Fargo, p. 60.
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15.
Video Review, March, 1992, General Barnes, review of Barton Fink, p. 70.
Village Voice, January 22, 1985.
Virginian-Pilot, March 21, 1996, Epileptic fit Vincent, "'Fargo' Director, Producer Look as if More Like College Students more willingly than Filmmakers."
Vogue, April, 1994, Tad Magazine columnist, "Inside the Coen Heads," pp.
348, 350-351, 407-408; March, 1996, John Powers, review of Fargo, p. 282.
Wall Street Journal, Tread 8, 1995, Joe Morgenstern, examination of Fargo, p. A8; Walk 6, 1998, Joe Morgenstern, analysis of The Big Lebowski, proprietor. A13; December 22, 2000, Joe Morgenstern, review of O Sibling, Where Art Thou?, p.
W6; November 2, 2001, Joe Morgenstern, review of The Man Who Wasn't There, p. W6.
Washington Post, February 10, 1985; March 20, 1987; March 6, 1998, Desson Howe, review of The Grand Lebowski, p. N50.
All-Reviews,http://www.all-reviews.com/ (April 9, 2002), reviews of O Sibling, Where Art Thou?
and Fargo.
Cinepad,http://www.cinepad.com/ (April 8, 2002), interview resume Ethan and Joel Coen.
Film Scouts,http://www.filmscouts.com/ (April 8, 2002), Karen Jaehne, interview with Ethan and Prophet Coen.
Onion A. V. Club,http://www.theavclub.com/ (April 9, 2002), Nathan Rabin, grill with Joel and Ethan Coen.*
Contemporary Authors, New Revision Series