Meet Joe Black [Blu-ray]

I don’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 Hopkin’s and Brad Pitt’s best roles (and Claire Forlani’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 didn’t know what to expect and I wasn’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 Forlani’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 (Hopkins’ character), the man who initially caught Death’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 couldn’t die, or Death going wild and hedonistically plunging into 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 with his eldest daughter, a woman who knows she is not his favorite (Allison Parrish, played by Marcia Gay Harden) and 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 Death’s personality and effects on his life to how Bill and living in a body changes Death to how Death and Susan interact…it’s a great love story, it’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 Bill’s and Death’s philosophical discussions, of glimpses of 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.

EDIT: this EDIT concerns the special features on the Ultimate Edition, which I just got. (The original review is about the movie itself, below.) The casing for the DVD set is very annoying, worse than normal DVDs when you try to remove each DVD without scratching it. DVD quality is just like the movie shown publicly, or a tad crisper. Nice to watch it, uncut. Nice to be able to select scenes and rewatch, versus VHS. The Ultimate DVD edition (not blu-ray) has the following 'Bonus features' on Disc 1: Production Notes -- which is merely one screen -- Cast and Filmmakers, DVD Newsletter, Recommendations, DVD-ROM Features. These are extensive, designed to explain the backdrop of the movie. The 'Cast and Filmmakers' section is not live, but rather little screen explanations about the cast, stuff you can learn better in imdb. The DVD newsletter is a waste of time, as is Recommendations, other DVDs you might want to purchase (Scent of a Woman and 12 Monkeys) as a result of liking Meet Joe Black. The DVD-ROM features supposedly only play in your computer, but I've never had any luck activating those features in Win7, so if you have XP, maybe they will work, maybe not. The screen says you need Win95 or higher. I didn't try it on my Win98 machines. So the Disc 1 features are pretty much useless on a DVD player. Disc 2, by contrast, has the original movie which Meet Joe Black updates: 'Death Takes a Holiday', starring (a very young) Frederick March. It's in black and white, very 1930's, Alberto Casella's play put to film. You don't get any choice of scenes, it just plays when you click on it. Rather silly movie start, so Meet Joe Black is much more interesting. Even so, the only way you can get the Death Takes a Holiday, is to buy this DVD pair. But the older movie is well-made, technically. Plot is quite different, of course. Charming, in its own way. In that older film, Death assumes the body of a living person, having made the deal with the Duke of the household, the night of the Prince's arrival. Very theatrical, kinda hokey really. But the 'Spotlight on Location' is a live interview with Mr. Brest, the Director. Very interesting. So Disc 2 has these two 'features' which are worth the purchase. OH, for all you Greek drama addicts, you'll notice the 'yes' refrain that runs pan-movie, much like John's Gospel (in Greek) uses oude, ouden, outhen to signify 'no other' (thus proving inter alia, that YES the pericope adulterae is valid, right it sits in John 8 that begins and ends with a stoning) -- so this movie, uses 'Yes'. Cute. So nice, when real literary talent is incorporated into a movie script! Original review, follows below. First paragraph was updated, to tie to the above text. ============= The myth of Hades and Persephone is the underlying premise for Meet Joe Black, apparently keying off a line in the original film where the bride-to-be isn't quite ready to become a bride. The wistfulness of Persephone, see. I can't watch it often enough. Originally got it on VHS years ago, gonna get it on DVD, trying to decide which version. Looks like I'll get the Ultimate US DVD set? Of all the 20 formats you can buy here on Amazon, that one seems to have the most features, plus the original 'Death Takes a Holiday' on which this movie is peripherally based. But the real origin, is in Greek mythology, Hades and Persephone. Go read that first, and you'll get much more out of this A+++++ movie. Perfectly done in every respect, best film editing and camera work I can recall seeing in a film (okay, maybe Pearl Harbor and uncut Das Boot are as good). Seriously. If you pay really close attention upon repeated viewing, you'll notice the full-circle development of the characters, too (even the bit parts). Death and Parrish reverse roles, by the end. You got the puns, right (perish=Parrish=parish=par ish, given that 'ish' is Hebrew for 'man', and 'par' means 'by' in most languages)? Truly a work of art, this film. Nice touch, that they don't take sides about which afterlife definition you should believe, but only that there is one. Yeah, because that's the question of your life: what comes 'next'? Gotta know that, to orient to 'now'. Best of all, you realize that a superior being wouldn't necessarily despise you, and you wouldn't necessarily be intimidated by it/him/her. So the 'sting' of regarding an afterlife (which people tend to religify, as if 'god' had to be a religious person) -- is removed. Whew. For this, is a film you LIVE.

"Joe Black" is a film that digs deep into the human soul, examining the delicate intricacies of life, death, love, and familial bonds. While its script is layered with powerful sentiments, the film's true strength lies in its star-studded cast, led by none other than the exceptional Sir Anthony Hopkins. Hopkins, known for his riveting portrayals, takes the reins as Bill Parrish in this thought-provoking drama. A testament to Hopkins' extraordinary talent, his performance in "Joe Black" is nothing short of a masterclass in acting. Bill Parrish is a character teeming with complex emotions – a man standing at the precipice of life, gazing into the abyss of the unknown. It takes an actor of Hopkins' caliber to fully convey this depth of emotion. The mastery he displays, particularly in his scenes with his daughters, is raw, powerful, and profoundly affecting. His voice alone is a spectacle to behold. There's an irreplaceable resonance to it - authoritative yet tender, echoing with wisdom, love, and a certain vulnerability. Hopkins’ voice brings a unique musicality to the dialogues, that transcends mere words and seeps into our hearts. Not to be overlooked are his gestures – meticulously crafted, subtly executed, and laden with meaning. Hopkins ensures that every glance, every nod, every tear speaks volumes about Parrish's emotional journey. These minute details, invisible to the untrained eye, give Hopkins' character a touch of humanity, making his portrayal of Parrish not just believable, but incredibly real. One cannot help but be drawn in by the teary-eyed moments shared between Parrish and the other characters, particularly his daughters. These scenes are not just about the lines being spoken - they are about the poignant silences, the raw emotion, the unspoken understanding, and the familial love that holds them together. They tug at the heartstrings and make you appreciate the precious moments you share with your loved ones. Watching Anthony Hopkins as Bill Parrish, we are not merely spectators to his journey – we are fellow travelers, experiencing every wave of emotion that sweeps over him. We mourn his losses, share in his joy, feel his love, and learn from his wisdom. His performance has not just entertained us; it has touched us, leaving an indelible mark on our hearts. "Joe Black" is a film that has enriched our understanding of love, family, and life. It's a soul-stirring experience that lingers long after the credits have rolled, urging us to cherish the moments that make life worth living. All credit goes to the sensational Sir Anthony Hopkins. His portrayal of Bill Parrish has breathed life into the character, made us laugh and cry with him, and stirred in us a deep appreciation for the ephemeral beauty of life. This film is a testament to Hopkins' enduring talent and an unequivocal reminder of why he is one of the most respected actors in the history of cinema. With "Joe Black", Anthony Hopkins has once again proven that he is truly a master of his craft. This film is not to be missed.

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 these 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 family 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.

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 ‘Legends of the Fall’, the decision to cast both Brad Pitt and Anthony Hopkins is responsible for much of this film's success. Their 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 to 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 looming 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 Parrish’s business. I can only make comments about this omission in retrospect of course, but it 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 Williams’ coworkers makes his role as what is essentially the Grim Reaper less arbitrary and more holistic. Annoying? Potentially so. As 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 someones’ job (and the entirety of their livelihood) when they clearly can’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!

This film was incredible (viewed in 2023). I have no idea what to compare it to and that's saying something since I'm quite a movie snob and watch everything from action films to Oscar dramas to niche foreign wuxia and crime thrillers, and this will definitely stick with me. On paper, it's a schmaltzy, cliched, over-long romcom with a fantasy twist, and maybe that's really what it was in 1998, but 20 years later the cheesy romance feels tongue-in-cheek and laid on so thick that it transcends into meta, hilarious, absurdist comedy. This alone would have been enough to justify watching, but once it finds this foothold it steps further, offering genuine drama, sentiment, and ruminations on life. Pitt has the affect of his lovable Burn After Reading character's dubious dip into intrigue... except for an entire movie. Hopkins elevates the absurd scenario by playing it straight, as if the supernatural elements of the plot were irrelevant. Through this the strange tone and events of the film become an invitation: take it as seriously as you like. Again, the film works just on the strength of its cheeky set-pieces and game actors, but there's real heart underneath if it takes your fancy. Is the 3 hour length justified? I would say so, though for reference, two of my favorite films are LOTR and David Lowry's The Green Knight. I have no problem with a film taking its time to immerse me in a situation or give me time to grow attached to a character. The editor in me could easily trim 90+ minutes from this; some scenes may seem superfluous and some conversations overly-thorough, but they didn't to me. The lingering (clinging?) and constant, tentative glances to and retreats from resolutions fits the theme of the film well in the end, and ultimately worked for me. The textural effect of making me notice something is stretching and making me wonder to myself if it's worth it, then the satisfaction of answering "you know what? yeah, it is" is rare and unique and this film pulls it off. Based on other reviews, I expected to be "putting up" with a dull, simplistic plot for the sake of Hopkins and Pitts' reliable performances. They certainly delivered, but I'm happy to say the film proved to be so much more. A must watch and hidden gem as far as I'm concerned.

I am a golfer. Not an avid golfer. I am an admitted rabid golfer. Please stay with me for a minute. How much sense does that make and what does it have to do with Meet Joe Black. Well,....as the Jamaican woman said in the hospital, life is about collecting pictures/memories. In the game of golf, one can feel virtually every emotion known to man from absolute disgust and self loathing to the most extreme joy and contentment. Golfers who truly understand will tell you that Golf is about experiencing and creating powerful memories. And,...you can do it all in just over 3 hours per round every time you play. In the 3+ hours that it took to watch this movie, I probably didn't experience every emotion, but the depth of emotion that I was taken to made up the difference. Everything about this movie was perfect. Only the best of true art is capable of such a journey. It was spiritual and at the same time it made me realize the incredible gift that the actors brought to the screen. Yes, life is about collecting pictures and life is about building the type of life that Bill Parrish was portrayed to have built ("Daddy, everybody loves you"). I've learned much from this movie and hope you enjoy it as much as I did. The casting for this movie was utter perfection from the Jamaican lady to the mesmerizing performance of Claire Forlani. I didn't think a human being could express such innocence and beauty. Sir Anthony Hopkins is truly our greatest living acting talent (maybe living or gone). Brad Pitt was so good as an unknowing, inncocent yet omni-powerful death that it was scary. Drew, Quince and Allison all the way down to the butler were exquisitley cast and executed with utter perfction. There were so many best parts to the movie, but none could be better than the part near the end when Susan (Claire Forlani) and death emberace as death tries to tell her who he really is. This comes after a dare from Bill Parrish (Sir Anthony Hopkins). It was a clinic in superb acting. Almost no words were spoken, but the point was made even more powerfully than if they were shouting at each other. Lastly, everyone who took part in this movie was severely shafted, especially the director who happened to have created a masterpiece beyond comprehension. I say this becasue this movie got virtually no recognition and no praise. It surprisingly was not a blockbuster as it should have been. Maybe it was just intended for those of us who needed it. Oh well, it is now my favorite movie of all time, this from someone who loves science fiction and adventure. Ah romance.

Wonderful wonderful movie!

Every thing was sent on time and the product was great. Enjoyed very much

Bra skådespelare

Das Remake von "Death Takes A Holiday" spielt vor der Kulisse Manhattens und der Supervillen auf Long Island. Mit beeindruckenden Luftaufnahmen und Einblicken in die Immobilien der oberen 10.000 kommt der Film komplett ohne aufwendige Special Effects und 16 Bilder/sec-Sequenzen aus. Ein sehr entspannendes Filmerlebnis von fast 3 Stunden!!! Story: William Perrish (Sir Anthony Hopkins) ist erfolgreicher Medienmogul in New York und führt sein Unternehmen mit Disziplin, aber auch mit Ehre und Pathos. Plötzlich jedoch scheint Ihm die Kontrolle zu entgleiten: Schmerzen in der Brust und eine mysteriöse Stimme, die aus dem Nichts heraus immer wieder "ja" flüstert, lassen Böses ahnen. Der Tod kündigt sich bei Perrish persönlich an und eröffnet Ihm das baldige Ende seines irdischen Seins. Doch er gewährt ihm noch einen Aufschub. Scheinbar wegen der Faszination an Perrishs Tochter Susan (Claire Forlani) ermächtigt er sich des Körpers eines jungen Anwalts (Brad Pitt), den Susan in einer New Yorker Cafe-Bar kennen gelernt hat. Kurz nach dem viel verspechenden Kennenlernen überfährt ein Auto den Ärmsten und der Tod erscheint in dessen Gestalt auf Perrishs Anwesen auf Long Island und verkündet, dass er fortan so lange bleibt, wie es ihm auf Erden gefällt. Sollte Perrish ihm nicht gefällig sein, so nehme er ihn sofort mit ins Totenreich. Perish, der sich so einen Aufschub erhofft, um seine Geschäfte noch zu erledigen, stimmt zu und führt den mysteriösen Fremden, mit den sonderbaren Verhaltensweisen als Freund in die Familie und die Firma ein. Der kalte Tod entwickelt nun eine nahezu kindliche Freude an den irdischen Genüssen. Nicht nur Erdnussbutter (product placement), sondern auch Susan wecken sein sinnliches Verlangen. Sehr zum Missfallen Perrishs entwickelt sich eine immer intimer werdende Romanze zwischen Susan und dem Tod, der für Susan natürlich noch immer der nette Anwalt aus der Bar ist und nicht der Herr der Finsternis. Und noch eine andere Bedrohung kommt auf Perrish zu: Susans karrieresüchtiger Verlobter Drew versucht Perrishs Konzern an einen Konkurrenten zu verkaufen. Um dies tun zu können, muss er Perrish entmachten. Doch damit macht er sich den Tod zum Feind, denn dieser ist zunehmend fasziniert von William Perrishs Persönlichkeit. Schließlich offenbart der Tod Perrish seinen Wunsch mit Susan zusammen bleiben zu wollen, mit allen Konsequenzen. Eine rührende und beeindruckende Hommage an das Leben, die Liebe und das persönliche Glück. Bildgewaltig setzte der Film die Welt der Superreichen mit Ihren Intrigen und Machtspielen in Szene. Danneben plädiert er für das Bewahren von Ehre und Menschlichkeit und die Wertschätzung der Familie. Actionfans mag der Film an vielen Stellen zu langatmig sein. Manch Dialog ist auch etwas zu pathetisch geraten und Brad Pitt wirkt immer etwas mehr wie ein unbeholfenes Unterwäschemodel als ein furchteinflößender Herrscher des Totenreichs, aber berührt hat mich der Film dennoch. Anthony Hopkins Präsenz ist unglaublich dominant und authentisch und auch Claire Forlani spielt die junge verliebte Ärztin Susan mit Überzeugungskraft. Auch die Nebenrollen sind gut herausgearbeitet. So leidet man zum Beispiel mit dem trottelig-naiven Quince, dem Schwiegersohn Perishs, der bei der Entmachtung Perishs unfreiwillig mithilft, seiner Frau Allison, die sich alle Mühe gibt Ihren Vater mit der Organisation einer monumentalen Geburtstagsparty zum 65. zu beeindrucken, und man hasst den skrupellosen Drew (Susans Verlobten) wegen seines rücksichtslosen Machtstrebens. In meinen Augen ein lohnenswerter Film! Unbedingt, wenn möglich, im englischen Original anschauen!

3時間程の長編映画、映画館での鑑賞は、トイレ事情があり無理と思いまいした。しかし、当作品のストーリーは良かったです。こんなに洒落た死神が居るなんて、ラストは、ハッピーエンドでしたね。このプラットピッドは、イケメンなので、女性が一目惚れになるよね。女優さんも素敵な方でした。お薦めしたい作品になります。

DVD conforme à la description. Livraison dans les délais. Satisfait