Claire Forlani Meet Joe Black

Claire Forlani Meet Joe Black
From Wikipedia, the free encyclopedia
1998 American romantic fantasy film by Martin Brest

Bo Goldman
Kevin Wade
Ron Osborn
Jeff Reno

^ Jump up to: 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 25, 2014.

^ Jump up to: a b Berardinelli, James (1998). "Meet Joe Black (United States, 1998)" . reelviews.net (movie review) . Retrieved 2017-05-07 .

^ Jump up to: 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 .

^ Jump up to: 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.

Wikiquote has quotations related to Meet Joe Black .
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 ] .

It was the second pairing of Hopkins and Pitt after their 1994 film Legends of the Fall .

Media mogul Bill Parrish is contemplating a merger with another media giant. Meanwhile, 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 meets 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 or eat, or how to use food and utensils. He later wanders through the palatial house to adapt. Susan tries to understand his intentions, noting that his character is not the same as that of the man she met in the coffee shop.

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, while Joe is now under the influence of human desires and a magnetic attraction to her, and they make love. After they dress, Joe asks Susan, "What do we do now?" She replies, "It'll come to us." Bill inadvertently walks in and sees them kissing.

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 die. 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 makes peace with his daughters. Susan tells Joe she has loved him since the day in the coffee shop and he hints that his time is 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 again the young man from the coffee shop, uninjured and not comprehending where he is. Susan intuits that her father is gone, and the magnetism 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.

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 the South Slope neighborhood in Brooklyn , New York . [2]

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. [3]

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 . [4]

Meet Joe Black opened on November 13, 1998, and grossed $15,017,995 domestically upon its opening weekend (11/13-15) at #3, behind The Waterboy ' s second weekend and the opening of I Still Know What You Did Last Summer . [5]

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. [1]

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 showed. [6]

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. [7] [8] 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". [9] Travers wrote Rolling Stone that most of the characters were one-dimensional. [8] 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." [10] Brad Pitt, on the other hand, received a mixed response, with Mick LaSalle calling the performance so bad "it hurts" [10] and James Berardinelli calling it "execrable". [7]

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." [11] On Metacritic it has a score of 43% based on reviews from 24 critics, indicating "mixed or average reviews". [12] Audiences surveyed by CinemaScore gave the film a grade "A−" on scale of A to F. [13]

La morte in vacanza by Alberto Casella [ it ]

The Legend of Molly Johnson

Nell Minow

We Are Living Things

Carlos Aguilar

“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 that 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 flirt. 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 he 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. Actresses 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 on 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.
The 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, grownup 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.
Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

Rated PG-13
For An Accident Scene, Some Sexuality and Brief Strong Language

Claire Forlani

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The Irina Palm d'Or Award -winning Claire Forlani is not the new name in the entertainment industry. The beautiful and dedicated actress Claire is earning wide fans and followers from her incredible acting capabilities since the early 90s .
The actress Forlani is popular for playing the role of Susan Parrish in the 1998 romantic film Meet Joe Black alongside famous co-stars Brad Pitt and Anthony Hopkins .
The 48-years-old entertainment personality Claire is in a marital relationship with Dougray Scott . Like Forlani, her husband Scott is also a member of the film industry.
Dougray is a Scottish actor who has starred in movies and TV shows like Ever After, Mission: Impossible 2, Enigma, Hitman, My Week with Marilyn, Desperate Housewives , and others.
Scott and Forlani first met one another back in 2006 via their mutual friend. After dating for several months, Dougray merrily proposed to Claire with a diamond ring in September 2006 in Los Angeles .
After nine-years of engagement, Claire and her beloved fiance Dougray exchanged the wedding vows on June 8, 2007.
The intimate wedding ceremony was held joyfully in front of their friends, family members, and relatives, in Italy. For the big day, the bride Claire chooses a silk strapless wedding gown designed by Junko Yoshioka .
On the other hand, the groom Dougray was looking dapper in his black suit pant, white shirt, and a white tie. As of now, the husband-wife duo is sharing a perfect bond. They are living merrily as the happiest married pair.
Following the marriage, Dougray and his wife Claire adopted a son named Milo Thomas Scott born on December 27, 2014 . The duo adopted Milo when he was just 9 months old. As of now, they are jointly parenting him.
Not only Milo but an actress Claire is also parenting her step-kids Eden and Gabriel Travis Scott ( b. 1998 ). The twins Eden and Gabriel who share a healthy bond with their step-mom Claire was born via Scott's previous marital affair with Sarah Trevis .
The 5-feet-5-inch tall Claire has a net worth of $7 million which she accumulated from her professional acting career. Also, know about an English actress Jessica-Jane Clement . She has worked in the box-office hit movies like;
Similarly, she has starred in other movies and TV shows like The Medallion, Mallrats, Boys and Girls, Press Gang, CSI: NY, NCIS:
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Claire Forlani Meet Joe Black

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