Encore post: What's the rumpus

Last night the wife and I were doing a little channel surfing, and came across one of my favorite films of all time - Miller's Crossing. I was going to post about what a great film it is and how much I love it, but then I realized I'd already done that nine years ago. So you get to read it (maybe for the second time), and I don't have to write a new post. It's what I like to call a win-win. What's the rumpus is a recurring line in the movie. It's so good, someone really should grab that URL. Oh wait, someone already has. Enjoy the post. And as Gabriel Byrne as Tom Reagan says, "Don't get hysterical."

From the first frames of Blood Simple, I've been a Coen Brothers fan. I've enjoyed everything they've done. I even managed to find a few lines worth hearing in The Ladykillers.

But for now and always, my favorite Coen Brothers film is Miller's Crossing.

For me, it's pitch perfect on every level. The writing in particular is so authentic and of the time, it demands attention to follow exactly what's going on. I like movies where I'm required to be an active participant and not an innocent bystander. I also like movies where I don't know what's coming, or, as Tom Reagan (Gabriel Byrne) would say, what the play is.

On the surface it's a gangster film. But it's really about loyalties, relationships, jealously, consequences, love and sacrifice in the most honorable sense.

Brilliant performances all the way around, it's also the movie that made Gabriel Byrne a star (at least in America), and introduced us to Marcia Gay Harden. Albert Finney is superb as mob boss Leo. The film is also filled with Coen Bros. favorites: Jon Polito is brilliant as usual as rival mob boss Casper. John Turturro gives yet another of his eccentric, memorable, scene-stealing performances (while we're talking about Turturro, have a look at him in Big Lebowski). Steve Buscemi, although not going through a wood-chipper in this one like he did in Fargo, has a short, memorable bit that's pure gold.

If you have an eye for detail, you'll notice an apartment building in the film called the Barton Arms. If you're a Coen Bros. fan, you'll know why that's so cool.

Sadly Miller's Crossing didn't do nearly as well commercially as it deserved to because it had the unlucky honor of being a gangster film released the same year as Goodfellas and Godfather III. For me, of the three, it's the best of its' genre.

In this movie, as one of the characters says, "Up is down, black is white." I say Miller's Crossing is a great film you owe it to yourself to see.

Tony Shalhoub. What do you need, a roadmap?

In the brilliant Coen Bros. film Barton Fink, Barton (John Turturro) asks producer Ben Geisler (Tony Shalhoub) for advice on getting started on the script he's been hired to write. Geisler takes a beat, then says, "Wallace Beery. Wrestling picture. What do you need, a roadmap?"

With apologies to the Coens, I'd paraphrase it to "Tony Shalhoub. Great in everything. What do you need, a roadmap?"

I've been a fan of Shalhoub from the first time I saw him as cab driver Antonio Scarpacci on the sitcom Wings. Like some of the actors I enjoy and admire most—Gene Hackman, Will Patton, J.K. Simmons, Richard Jenkins, Chris Cooper, Tracy Letts, the late great J.T. Walsh and the late great Jon Polito to name a few—Shalhoub is just money in the bank. Regardless of the quality of the material, Shalhoub elevates it.

From Galaxy Quest to The Man Who Wasn't There. Spy Kids to Monk. Men In Black to Nurse Jackie. Big Night to Primary Colors. The Marvelous Mrs. Maisel to Luigi in Cars, he's simply scene-stealing in every project he's in.

What's so impressive is his range of characters, and level of commitment to them. Nuanced, organic, complete, they're at once interesting, compelling and intelligent—even on rare occasions when they're not written that way.

I suppose with a Masters in Fine Arts from Yale, his intelligence has always been on display. Look at the brain on Tony.

Shalhoub also proved he doesn't need words written by a screenwriter to be funny. He had one of the funniest real-life lines ever when he won one of his Emmys for playing Monk, a detective with an obsessive-compulsive disorder.

"To my fellow nominees, whoever they are - I'm not that familiar with their work - I just want to say, there's always next year - except, you know, for Ray Romano."

As the flashy, expensive litigator Reidenschneider in The Man Who Wasn't There, during the trial of Ed Crane (Billy Bob Thornton), Shalhoub is talking to the jury. At one point he says, "He is your reflection."

The same might be said of Tony Shalhoub.

What's the rumpus?

From the first frames of Blood Simple, I've been a Coen Brothers fan. I've enjoyed everything they've done. I even managed to find a few lines worth hearing in The Ladykillers.

But for now and always, my favorite Coen Brothers film is Miller's Crossing.

For me, it's pitch perfect on every level. The writing in particular is so authentic and of the time, it demands attention to follow exactly what's going on. I like movies where I'm required to be an active participant and not an innocent bystander. I also like movies where I don't know what's coming, or, as Tom Reagan (Gabriel Byrne) would say, what the play is.

On the surface it's a gangster film. But it's really about loyalties, relationships, jealously, consequences, love and sacrifice in the most honorable sense.

Brilliant performances all the way around, it's also the movie that made Gabriel Byrne a star (at least in America), and introduced us to Marcia Gay Harden. Albert Finney is superb as mob boss Leo. The film is also filled with Coen Bros. favorites: Jon Polito is brilliant as usual as rival mob boss Casper. John Turturro gives yet another of his eccentric, memorable, scene-stealing performances (while we're talking about Turturro, have a look at him in Big Lebowski). Steve Buscemi, although not going through a wood-chipper in this one like he did in Fargo, has a short, memorable bit that's pure gold.

If you have an eye for detail, you'll notice an apartment building in the film called the Barton Arms. If you're a Coen Bros. fan, you'll know why that's so cool.

Sadly Miller's Crossing didn't do nearly as well commercially as it deserved to because it had the unlucky honor of being a gangster film released the same year as Goodfellas and Godfather III. For me, of the three, it's the best of its' genre.

In this movie, as one of the characters says, "Up is down, black is white." I say Miller's Crossing is a great film you owe it to yourself to see.

You know, for kids

Here's a little bit of toy trivia for you.

Fifty years ago this very day, the hula hoop was patented by Wham-O. It's actually been around (no pun intended) since the mid-1800's, just not in the form and material we know today.

If you saw the Coen Bros. Hudsucker Proxy - an extremely underrated film - you know the hula hoop is central to the plot and lead character played by Tim Robbins.

I was thinking about the hula hoop - because really, what else do I have to think about - and I realized it's the same thing I, and all my creative brethren, strive for in advertising: An idea so uncomplicated and pure, it resonates on a visceral level.

But as anyone in the biz will tell you, the simple ideas are the hardest to find. And the hardest to sell.

In the movie, Tim Robbins character shows his idea to a colleague in the mail room: a circle on a piece of paper. The colleague thinks he's nuts. The simple ideas are a lot like shopping for homes - you have to look past what they are and see what they can become.

It's a skill not every agency and client has.

I'm not sure why toy makers can see it and people who are supposed to do it for a living can't. Wham-O followed up the hula hoop with another astonishingly simple idea: the Frisbee. And the rest is history.

As anyone who's worked ten minutes in an agency knows, until the dial gets reset to simple we're going to keep winding up with things like this: