AFI Catalog of Feature Films
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The Man Who Wasn't There
Alternate Title: The Barber Movie
Director: Joel Coen (Dir)
Release Date:   2 Nov 2001
Premiere Information:   World premiere at the Cannes Film Festival, Cannes, France: 13 May 2001; Los Angeles and New York openings: 31 Oct 2001
Production Date:   26 Jun--1 Sep 2000
Duration (in mins):   112 or 116
Duration (in feet):   10,426
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Display Movie Summary


Cast:   Billy Bob Thornton (Ed [Crane])  
    Frances McDormand (Doris [Crane])  
    Michael Badalucco (Frank [Raffo])  
  and James Gandolfini (Big Dave [Alan Brewster])  
    Katherine Borowitz (Ann Nirdlinger)  
    Jon Polito (Creighton Tolliver)  
    Scarlett Johansson ([Rachel] Birdy Abundas)  
    Richard Jenkins (Walter Abundas)  
    Tony Shalhoub (Freddy Riedenschneider)  
    Christopher Kriesa (Persky)  
    Brian Haley (Krebs)  
    Jack McGee (Burns)  
    Gregg Binkley (The New Man)  
    Alan Fudge (Diedrickson)  
    Lilyan Chauvin (Medium)  
    Adam Alexi-Malle ([Jacques] Carcanogues)  
    Ted Rooney (Bingo caller)  
    Abraham Benrubi (Young man)  
    Christian Ferratti (Child)  
    Rhoda Gemignani (Costanza)  
    E. J. Callahan (Customer)  
    Brooke Smith (Sobbing prisoner)  
    Ron Ross (Banker)  
    Hallie Singleton (Waitress)  
    Jon Donnelly (Gatto eater)  
    Dan Martin (Bailiff)  
    Nicholas Lanier (Tony)  
    Tom Dahlgren (Judge #1)  
    Booth Colman (Judge #2)  
    Stanley DeSantis (New Man's customer)  
    Peter Siragusa (Bartender)  
    Christopher McDonald (Macadam salesman)  
    John Michael Higgins (Doctor)  
    Rick Scarry (District Attorney)  
    George Ives (Lloyd Garroway)  
    Devin Cole Borisoff (Swimming boy)  
    Mary Bogue (Prisoner visitor)  
    Don Donati (Pie contest timer)  
    Arthur Reeves (Flophouse clerk)  
  Dancers Michelle Rae Weber    
    Randi Pareira    
    Robert Loftin    
    Kenneth Hughes    
    Gordon Hart    
    Brenda Mae Hamilton    
    Lloyd Gordon    
    Leonard Crofoot    
    Rita Bland    
    Audrey Baranishyn    
    Qyn Hughes    
    Rachel McDonald    

Summary: In 1949, Ed Crane works at a two-man barbershop owned by his brother-in-law, the loquacious Frank Raffo, in Santa Rosa, California. Ed does not consider himself a barber, just somebody who works as one, while his wife Doris works as a bookkeeper for Nirdlinger’s department store. Ed is a man of few words, and at a dinner party for Doris’ boss, Big Dave Alan Brewster and his heiress wife, Ann Nirdlinger, Big Dave keeps up the conversation with tall stories about the Pacific war. Ed observes to himself that Big Dave and Doris are closer than she lets on, but he has no interest in interfering. In the barbershop the next day, a new customer named Creighton Tolliver tells Ed that a local businessman has turned down his venture capital scheme for a new dry-cleaning business. Ed mulls the idea over all night and visits Creighton in his hotel room, telling him that he will come up with the $10,000 required investment within a week. Ed fends off a mild pass from Creighton and later writes an anonymous blackmail note to Big Dave demanding $10,000, and threatening that his affair with Doris will be made public if the money is not paid. Big Dave draws Ed into his office during the Nirdlinger’s Christmas party and confides in him about the blackmail note, but claims that his lover is no one Ed knows. Big Dave is distraught because paying out the money will prevent him from opening his own annex of the department store, and he fears the censure of his wife and her wealthy family. Ed listens quietly as Big Dave blames Creighton because he had turned down the speculator’s scheme, and because Creighton may have seen Big Dave with his lover at his hotel. After leaving the office, Ed is drawn to teenager Rachel “Birdy” Abundas, the daughter of his lawyer friend Walter, while she plays a Beethoven sonata on a piano in a darkened room. On the drive home that night, Doris complains that Big Dave has mishandled his money and because he will not be opening the annex, she will not get a promotion. The next day, Ed collects the blackmail money as pre-arranged and immediately delivers it to Creighton, who has him sign partnership papers. Late the next night, Doris sleeps off having had too much wine at a relative’s wedding, unaware that Ed has been called to see Big Dave in the deserted department store. Big Dave reveals that he has beaten the truth out of Creighton. He now attacks Ed, but when he attempts to strangle him, Ed knifes him in the side of the throat. Big Dave dies in a pool of blood and Ed returns home, picking up where he left off in his recollections about when he and Doris first met. Doris is arrested for Big Dave’s murder and Walter recommends Ed to Freddy Riedenschneider, an expensive, top-notch Sacramento attorney. Late in the night, Ann visits Ed and reveals that she believes the government murdered Big Dave because she and her husband reported that they had been abducted by aliens while in Eugene, Oregon. The next day, Freddy interviews Doris and Ed, searching for an angle with which to defend her. Ed confesses to the murder, but Freddy brushes this off as an attempt to save his wife, while Doris wordlessly understands it is true. Frank is forced to mortgage his shop in order to pay Freddy, and Ed silently berates himself when he discovers that Creighton has disappeared. Ed seeks solace at the Abundas home, visiting nightly to hear Birdy play Beethoven. During another meeting with Ed and Doris, Freddy expounds on a German scientist’s theory that observing something changes it. He then introduces private investigator Burns, who has discovered that Big Dave lied about being a war hero, when in fact during the war he worked as a clerk at a naval shipyard. Freddy is convinced that this will introduce enough reasonable doubt to free Doris. Ed, meanwhile, begins envisioning a new life for himself managing Birdy’s professional career as a concert pianist. Everyone is stunned when the trial is canceled because Doris hanged herself in her cell. Frank is so debilitated by his sister’s death that he stops working and Ed hires a new barber, who, much to his chagrin, talks just as much as Frank. Although his life continues much as before, Ed now feels like a ghost. After learning from the medical examiner that the wife with whom he had not slept in years was pregnant at the time of her death, Ed tries to contact Doris through a medium, only to realize the absurdity of it. Ed then focuses his efforts on Birdy and gets her an audition with prominent San Francisco music teacher Jacques Carcanogues. Carcanogues tells Ed that Birdy’s playing is polite but dispassionate and that she has no future as a professional. On the drive home, Birdy, who has never been interested in a professional career, tries to console Ed by performing oral sex on him. Ed is shocked and protests vehemently, then accidentally drives off the road. As the car sails through the air, time slows for Ed, and he ponders why hair continues to grow after a person dies, and how it knows to stop. Ed finds himself on his porch, smoking a cigarette. Doris arrives home and fends off a pavement salesman, after which she and Ed sit silently on their living room couch. Ed speaks her name, but she tells him to say nothing, and that he is fine. Ed then awakens in the hospital, severely battered by the car accident, and learns that although Birdy is alive and well, he is being arrested for Creighton’s death as the salesman’s beaten body was recently discovered in his sunken car. Ed signs over his house to Freddy, who agrees to take the case to make up for Doris’ lost trial. Although Freddy makes a brilliant argument, Frank loses control and slugs Ed in court, and a mistrial is declared. Ed can no longer afford Freddy’s counsel and hires a lesser attorney, Lloyd Garroway. In the next trial, Ed is found guilty and sentenced to death by execution. He finishes writing his story for the magazine Stalwart in his cell, and notes that writing it has helped him see his story as a whole, rather than disconnected pieces. As he is being strapped to the electric chair, Ed reflects that although he is sorry to have caused people pain, the only thing he ever regretted was being a barber. He now looks forward to seeing Doris again and telling her “all those things they don’t have words for here.” 

Production Company: Working Title Films (Vivendi Universal)
Production Text: A Working Title Production
Distribution Company: USA Films  
Director: Joel Coen (Dir)
  Betsy Magruder (1st asst dir)
  Jonathan McGarry (2d asst dir)
  Rusty Mahmood (2d 2d asst dir)
  Ime Etuk (DGA trainee)
Producer: Ethan Coen (Prod)
  Tim Bevan (Exec prod)
  Eric Fellner (Exec prod)
  John Cameron (Co-prod)
  Robert Graf (Assoc prod)
Writer: Joel Coen (Wrt)
  Ethan Coen (Wrt)
Photography: Roger Deakins (Dir of photog)
  Clint Dougherty (Cam op)
  Andy Harris (1st asst cam)
  Joshua Blakeslee (2d asst cam)
  Will Dearborn (Loader)
  Chris Haarhoff (Steadicam op)
  Mark Emery Moore (Steadicam op)
  Tommy Klines (Steadicam asst)
  Marty Weight (Video assist)
  Maryan Zurek (Underwater asst)
  Elizabeth Ingram (Cam intern)
  Randy Woodside (Chief lighting tech)
  Erik Bernstein (Best boy elec)
  Chris Napolitano (Rigging gaffer)
  Edward R. Nedin (Elec rigging best boy)
  Bob Gray (Key grip)
  Quinn Grove (Best boy grip)
  Bruce Hamme (Dolly grip)
  Mark R. Schultz (Key rigging grip)
  Paul [D.] Williams (Rigging best boy grip)
  Beverly Wood (Lab processing consultant)
  Melinda Sue Gordon (Still photog)
  Otto Nemenz (Arriflex S35 cams by)
  Hollywood Rental Co. (Lighting equipment supplied by)
Art Direction: Dennis Gassner (Prod des)
  Chris Gorak (Art dir)
  Lance Hammer (Asst art dir)
  Kearsley Higgins (Art dept admin)
  Ted Haigh (Graphic des)
  Sam Page (Art dept asst)
  J. Todd Anderson (Hand-to-Eye man)
Film Editor: Roderick Jaynes (Film ed)
  Tricia Cooke (Film ed)
  David Diliberto (Assoc film ed/Post-prod supv)
  Neil Stelzner (Asst film ed)
  Vida Fitzgerald (Asst film ed)
  Karyn Anonia (Asst film ed)
  Theresa Repola Mohammed (Negative cutter)
  Mike Milliken (Timer)
Set Decoration: Jeff Markwith (Set des)
  Chris Spellman (Set dec)
  Kristen Gassner (Asst set dec)
  Scott Bobbitt (Leadman)
  James Meehan (On-set dresser)
  Eric Ramirez (Set dresser)
  Cheryl Gould (Set dresser)
  Damon Allison (Set dresser)
  Don Goodman (Drapery foreman)
  Ritchie Kremer (Prop master)
  Gay Perello (Asst prop master)
  Gert Broekema (Props asst)
  Jeff Passanante (Const coord)
  Lori Goldback (Const admin asst)
  Edward L. Turk (Stage const foreman)
  Mark A. Sparks (Loc const foreman)
  John Dugan (Plaster foreman)
  David French (Sculptor)
  John Leone (Labor foreman)
  Thomas Brown (Paint supv)
  Larry Laurent (Paint foreman)
  Stacy Clinger (Gang boss painter)
  Grant Osborn (Gang boss painter)
  Roosevelt Bonner (Gang boss painter)
  Fred Seibly (Signwriter)
  Adolfo Castanon (Greensman)
  Alberto Delgado (Greensman)
Costumes: Mary Zophres (Cost des)
  Maria Aguilar (Asst cost des)
  Danielle Valenciano (Asst cost des)
  Deborah 'Cha' Blevins (Cost supv)
  Cookie Lopez (Key set cost)
  Jenny Eagan (Set cost)
  Guy Miracle (Set cost)
  Celeste Cleveland (Fitter/Cutter)
  Christine Wada (Ager/Dyer)
  Mary Liane (Cost)
  Zhanna Tataryan (Cost)
  Pablo B. Nantas (Tailor)
  Mary Macias (Alteration fitter)
  Mila Hermanowski (Ward asst)
Music: Carter Burwell (Orig score/Orch and cond)
  Todd Kasow (Mus supv)
  Jonathan Feldman (Piano performances)
  Michael Farrow (Mus scoring mixer)
  Sandra Park (Contractor)
  Tony Finno (Copyist)
  Dean Parker (Asst to the comp)
  Aquim Krajka (Accordian soloist)
  Clinton Recording Studios, New York (Music rec at)
  The Body, New York (Mus mixed at)
  Steve Kasow (Asst mus ed)
Sound: Skip Lievsay (Supv sd ed/Re-rec mixer)
  Peter Kurland (Prod sd mixer)
  Randy Johnson (Boom op)
  Jerry Ross (Utility sd tech)
  Kevin Patterson (Mus playback)
  Eugene Gearty (Sd des)
  Fred Rosenberg (Dial ed)
  Kenton Jakub (ADR ed)
  Jerry Ross (Sd ed)
  George A. Lara (Foley mixer)
  Marko Costanzo (Foley artist)
  Jennifer Ralston (Foley supv)
  Ben Cheah (Foley ed)
  Alex Soto (Asst sd ed)
  Igor Nikolic (Asst sd ed)
  Chris Fielder (Transfer asst ed)
  Larry Wineland (Apprentice ed)
  Alan Zaleski (Sd eff transfer asst)
  Eric Potter (Field rec)
  Jesse Ehredt (Pre-mix rec)
  Elisabeth Giglio (Sd studio mgr)
  Lila Yomtoob (Sd intern)
  The Post Factory (Post-prod facilities)
  C5, Inc. (Post-prod sd/Re-rec mix)
  Digital Cinema (Re-rec mix)
Special Effects: Janek Sirrs (Visual eff supv)
  MUFX, Los Angeles (Spec visual eff )
  Matt Dessero (Digital eff supv)
  Jonathan Styrlund (Digital eff prod)
  Sophie Lecierc (Digital eff prod)
  Travis Baumann (Compositor)
  Eric W. Weinschenk (Compositor)
  Amanda Morrison (Compositor)
  Jake Morrison (Compositor)
  John Cassella Jr. (3D artist)
  Diana Miao (3D artist)
  Daniel Sunwoo (3D artist)
  Chris Wood (Paint/Roto supv)
  Nicolle Cornute (Paint/Roto artist)
  Matt '45' Magnolia (Visual eff coord)
  Rob Hodgson (Creative eff dir)
  Janet Yale (Bidding prod)
  Don Fly (Gen mgr)
  Patrick Ballin (Visual eff ed)
  Carol Loeffier (Systems admin)
  Victor E. Vaile IV (Systems admin)
  Gary George (I/O supv)
  Peter Chesney (Spec eff supv)
  Emmet Kane (Spec eff foreman)
  Michael D. Roundy (Spec eff gang boss)
  Tom Chesney (Spec eff tech)
  Barry Beaulac (Spec eff tech)
  Vaughn M. Williams (Spec eff tech)
  Pete Chesney Jr. (Spec eff asst)
  Hunter/Gratzner Industries (Miniatures const)
  Matthew Gratzner (Miniatures const)
  Ian Hunter (Miniatures const)
  Shannon Blake Gans (Miniatures const)
  The Chandler Group (Miniatures photog)
  Pacific Title (Opticals by)
  On Core Productions (Combined cont by)
  Balsmeyer & Everett, Inc. (Title des)
  Randall Balsmeyer (Des)
  Amit Sethi (Digital artist)
  Kathy Kelehan (Titles prod)
Dance: Bill Landrum (Choreog)
  Jacqui Landrum (Choreog)
Make Up: Jean Black (Makeup supv)
  Amy Schmiederer (Key makeup)
  Lynne Eagan (Makeup for Mr. Thornton)
  Make-up & Monsters (Spec eff makeup)
  Paul Leblanc (Head hair stylist)
  Joani Yarbrough (Key hair stylist)
  Carol Doran (Wigs)
  Renata Leischner (Wigs)
Production Misc: Ellen Chenoweth (Casting)
  Amanda Koblin (Casting assoc)
  Background Players (Extras casting)
  Sandra James (Voice casting)
  John Cameron (Unit prod mgr)
  Donald Murphy (Scr supv)
  Karen Ruth Getchell (Prod coord)
  Julie Carideo (Asst prod coord)
  Smriti Mundhra (Prod secy)
  Cheryl Kurk (Prod accountant)
  Barbara Ann Stein (Post-prod accountant)
  Karen Yokomizo (1st asst accountant)
  Paul Barry (2d asst accountant)
  Kimberly Aguirre (Payroll accountant)
  Sessions (Extras payroll)
  Ned Shapiro (Loc mgr)
  France Metz (Key asst loc mgr)
  Pavel Sterba (Asst loc mgr)
  Kei Rowan-Young (Asst loc mgr)
  Tiffany Weston (Loc asst)
  Don Tardino (Transportation coord)
  Tim Ryan (Transportation capt)
  Jon Tardino (Driver capt)
  James Brown (Driver co-capt)
  William F. Luehm (Picture car capt)
  Paul Ripple (Transportation asst)
  Lynn Struiksma (Set prod asst)
  Keith Potter (Set prod asst)
  Taylor Phillips (Set prod asst)
  Eric Hamme (Set prod asst)
  Chris Wessman (Office prod asst)
  Chrissy Phelan (Office prod asst)
  Catherine Farrell (Post-prod asst)
  David Goodman (Cast asst)
  Richard Vanegas (Barber cast training)
  Odessa Whitmire (Asst to Mr. Thornton)
  Kristin Scott (Asst to Mr. Thornton)
  Travis Nicholson (Asst to Pedro Coen)
  Eileen Sullivan (Friend of the Firm)
  Nancy James (Craft service)
  Mike Mosley (Craft service asst)
  Tony's Food Service (Caterer)
  Ivan Kerum (Chef)
  Neda Kerum (Chef)
  Larry Kaplan (Unit pub)
  Shays & Murphy (Prod legal services)
  Aon (Insurance services supplied by)
  Albert G. Ruben (Insurance services supplied by)
  Kevin O'Shea (Insurance services supplied by)
  The Lot (Stage facilities)
  Paramount Studios (Stage facilities)
  Universal Studios (Stage facilities)
  Angela Morrison (Chief operating officer, Working Title)
  Michelle Wright (Exec in charge of prod, Working Title)
  Rachel Holroyd (Head of legal/Business affairs, Working Title)
  Katie Cooper (Asst to Mr. Bevan, Working Title)
  Aliza James (Asst to Mr. Fellner, Working Title)
  Tony Davis (Company coord, Working Title)
  Alan J. Schoolcraft (Secy gen, Mike Zoss Productions)
Stand In: Jery Hewitt (Stunt coord)
  Jennifer Lamb (Stunts)
  Ken Clark (Stunts)
  Mickey Giacomazzi (Stunts)
MPAA Rating: R
Country: United States
Language: English

Music: Piano Sonatas Number 8 ("Pathetique"), 14 ("Moonlight"), 15, 23, 25 and 30, and the Archduke Trio by Ludwig Van Beethoven.
Songs: "Moonlight in Vermont," written by Johnny Blackburn and Karl Suessdorf, performed by Hugo Winterhalter and His Orchestra, courtesy of the RCA Records label, a unit of of BMG Entertainment, under license from BMG Special Products; "Some Enchanted Evening," written by Richard Rodgers and Oscar Hammerstein II, published by Williamson Music; "The Marriage of Figaro," written by Wolfgang Amadeus Mozart, performed by Deutsche Opera Berlin, courtesy of Deutsche Grammophon GMBH, Hamburg under license from Universal Music Enterprises; "Three O'Clock in the Morning," written by Julian Robhedo and Theodora Morse, published by EMI Feist Music, Inc. and Bienstock Publishing Company O/B/O Redwood Music Ltd., performed by Hugo & Luigi, courtesy of the RCA Records label, a unit of BMG Entertainment, under license from BMG Special Products.
Composer: Johnny Blackburn
  Oscar Hammerstein II
  Theodora Morse
  Wolfgang Amadeus Mozart
  Julian Robhedo
  Richard Rodgers
  Karl Suessdorf
  Ludwig Van Beethoven
Source Text:

Copyright Claimant Copyright Date Copyright Number
Gramercy Pictures LLC 0/0/2001 dd/mm/yyyy  

PCA NO: 38222
Physical Properties: Sd: Dolby Digital; DTS; SDDS (Sony Dynamic Digital Sound) in selected theatres
  b&w: DeLuxe Laboratories/Kodak Motion Picture Film
  Widescreen/ratio: 1.85:1
  gauge: 35mm

 
Genre: Drama
  Drama
Sub-Genre: Domestic
  Crime
 
Subjects (Major): Barbers and barbershops
  Blackmail
  False arrests
  Infidelity
  Neglected husbands
  Murder
  Suicide
 
Subjects (Minor): Accountants
  Adolescents
  Aliens, Extraterrestrial
  Automobile accidents
  Bingo (Game)
  Confession (Law)
  Department stores
  Drunkenness
  Executions
  Genealogy
  Homosexuality
  Imprisonment
  In-laws
  Lawyers
  Medical examiners (Law)
  Mediums
  Music teachers
  Partnership
  Pianists
  Santa Rosa (CA)
  Speculation
  Trials

Note: The working titles of this film were Untitled Barber Movie, Untitled Barber Project and The Barber Movie . The film has a voice-over narration delivered by Billy Bob Thornton as his character, “Ed Crane.” Although the narration fluctuates between past and present tense, the entirety of the film is a flashback until the end sequence, when Ed is in prison and writing his memoir for the magazine. “Roderick Jaynes,” listed in the onscreen credits as a film editor, is a joint pseudonym used by brothers Ethan Coen and Joel Coen, who, along with Tricia Cooke, edited the film.
       The film's end credits include the following acknowledgment: "'Fibber McGee & Molly' Courtesy of NBC Studios and The Museum of Broadcasting Communications, Chicago." The opening and ending cast credits differ slightly in order. According to the presskit, the film was shot at the following Southern California locations: Lincoln Heights Jail in Los Angeles for the jail scene; Don Carlos Stages in East Los Angeles for the courtroom scenes; Musso and Frank’s Grill in Hollywood as Da Vinci’s restaurant; Thousand Oaks for the wedding reception; a Presbyterian Church on Wilshire Blvd. in Los Angeles for the Bingo scene; an empty Bank of America branch in downtown Los Angeles as the Santa Rosa bank; a furniture store in Glendale as “Nirdlinger’s” department store; the exterior of a Craftsman-style house in the “Bungalow Heaven” neighborhood in Pasadena became the Crane home; an apartment in Castle Green, a hotel-turned-apartment building in Pasadena, served as the piano teacher’s studio; and portions of the city of Orange in Orange County doubled as Santa Rosa. Both Michael Badalucco and Thornton trained with barbers to learn how to cut hair; Thornton also briefly trained at Dirty Dan’s Clip Joint.
       The presskit adds the following information about the production: The picture was shot on color negative film, which was then printed on black-and-white film stock for theatrical exhibition. According to a 30 Nov 2001 article in Entertainment Weekly , USA Films negotiated with the filmmakers to shoot the picture so that videos could be released in color for European markets. The Man Who Wasn’t There emulates the visual style and content of film noir, a genre produced primarily in the 1940s and 1950s. The filmmakers depicted the setting as Santa Rosa, CA because it evoked the 1943 Alfred Hitchcock film Shadow of a Doubt , which was set and filmed in Santa Rosa (see AFI Catalog of Feature Films, 1941-50 ). Other echoes of a classic film noir may include the character names “Diedrickson” and “Nirdlinger.” “Dietrichson” was used for two main characters in the 1944 Paramount film Double Indemnity , directed by Billy Wilder, while “Nirdlinger” was the surname used for the same characters in James M. Cain’s novel Double Indemnity , on which the Paramount film was based (see AFI Catalog of Feature Films, 1941-50 ).
       The Man Who Wasn’t There tied with David Lynch’s Mulholland Dr. for the Best Director Palme d'Or award at the 2001 Cannes International Film Festival. Roger Deakins was selected by AFI as Cinematographer of the Year, and the film was nominated by AFI as Movie of the Year. Other AFI award nominations went to Thornton as AFI Actor of the Year—Male—Movies and to Tony Shalhoub as AFI Featured Actor of the Year—Male—Movies. The Hollywood Foreign Press Association nominated the film for 2001 Golden Globe awards in the following categories: Best Motion Picture Drama, Best Performance by an Actor in a Motion Picture, Drama (Thornton) and Best Screenplay (Ethan and Joel Coen). The film also received an Academy Award nomination for Best Cinematography. 

Bibliographic Sources:   Date   Page
Daily Variety   14 May 2001.   
Entertainment Weekly   9 Nov 2001   pp. 79-80.
Entertainment Weekly   30 Nov 2001   p. 49, 51.
Hollywood Reporter   27 Jun 2000.   
Hollywood Reporter   11 Jul 2000.   
Hollywood Reporter   18 Jul 2000.   
Hollywood Reporter   14 May 2001.   
Hollywood Reporter   8 Nov 2001.   
ICG Magazine   Nov 2001   pp. 23-28.
Los Angeles Times   31 Oct 2001.   
LA Weekly   2 Nov 2001.   
New Times (L.A.)   1 Nov 2001.   
New York Times   31 Oct 2001.   
The Observer (London)   28 Oct 2001.   
Rolling Stone   22 Nov 2001.   
Screen International   5 May 2000.   
Sight and Sound   Nov 2001.   
The Sunday Times (London)   28 Oct 2001.   
Time   3 Sep 2001.   
The Times (London)   25 Oct 2001.   
Variety   10 Apr 2000.   
Variety   21 May 2001.   
Village Voice   6 Nov 2001.   

Display Movie Summary
The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.
 
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