Grease Monkey Business
The Coen Brothers, back when BLOOD Simple was new, were asked about modern noir and in particular the new version of THE POSTMAN ALWAYS RINGS TWICE with Jessica Lange and Jack Nicholson. Not yet having learned the form of good manners that seems to prevail in the film industry, whereby filmmakers rarely badmouth each others’ work (in this, as much else, Ken Russell was un vrai enfant terrible), they remarked that Pauline Kael’s criticism of the film seemed to them dead right.
Kael had basically said that the scene in James M. Cain’s book when a man is murdered just as he sings out into a valley, and his voice echoes back after his death to alarm his murderer, was pure cinema, and that nobody with an ounce of cinematic sense could possibly omit it from a movie adaptation. Now, Bob Rafelson, that film’s director, showed considerable cinematic sense, or at least flair, in his work —
But he must bear some responsibility for leaving out that compelling detail, and for truncating the book’s grimly ironic ending. (Though in fairness, his film delivers on some other key moments.) But if we have to point the finger of blame, I’d sooner point it at David Mamet, who does seem to me to display an anti-cinematic impulse in nearly everything he touches. An exception can be made for THE UNTOUCHABLES, where Mamet’s speechifying and DePalma’s showy excess hold each other in a kind of goofy equilibrium.
Anyhow, both Cain’s murder scene and his ending are intact in the FIRST version of Postman, which might not be the version you’re thinking of. Check it out at The Forgotten.