Authors: Professor Max Harmonics and His Lovely Assistant Melody

In the pantheon of films that challenge traditional genre boundaries, Hal Hartley’s No Such Thing stands out like a neon sign in a blackout. Released in 2001, this supernatural drama, previously titled Monster and Skrímsli in Icelandic, is less about monsters lurking in the dark and more about the existential crises of its characters and the media spectacle they become entangled in. If you're in the mood for a film that combines philosophical musings with a critique of modern media culture, buckle up. This is your guide to No Such Thing, a film that redefines what it means to be a monster.

Plot Overview

In No Such Thing, Sarah Polley stars as Beatrice, a journalist whose life is turned upside down when her fiancé, Jim, is killed by a monstrous entity in Iceland. The plot starts with Beatrice working in a high-pressure television network under the iron fist of a character known only as The Boss, played by the illustrious Helen Mirren. After receiving a chilling recording from Jim, she’s determined to uncover the truth behind his death.

Her journey to Iceland, however, is fraught with disaster. After a plane crash and a painful recovery that requires radical surgery, Beatrice finds herself in a remote village where the real monster (Robert John Burke) is far from the standard horror fare. This creature is a foul-mouthed, alcoholic entity who has been around since the dawn of time. Instead of terrorizing, he’s trapped in a cycle of existential despair and media exploitation.

The monster reveals to Beatrice that he wants to die but is indestructible. With a mix of dark humor and bleak reality, he exposes his true nature and the havoc he’s wrought. Beatrice, ever the journalist, offers to help him find a mad scientist who might have a solution to his immortality in exchange for a promise not to kill anyone while in New York. The monster's journey to fame and the ensuing media frenzy become a satire of modern celebrity culture, with Beatrice navigating her role in this chaotic spectacle.

As the monster becomes a media sensation, the film transitions from the icy landscapes of Iceland to the bustling streets of New York City. Here, the monster's celebrity status and the media's obsession with him take center stage. The narrative culminates in a tragic and poignant climax where Beatrice and the monster confront their shared fate in a dramatic, emotionally charged sequence.

Cast Section

Sarah Polley as Beatrice

Sarah Polley’s portrayal of Beatrice is a masterclass in understated complexity. Her character’s journey from a determined journalist to a figure grappling with the absurdities of media culture is handled with grace and depth. Polley’s performance was well-received, although the film itself didn’t achieve significant critical acclaim. Critics appreciated her ability to ground the film’s fantastical elements in a believable human experience, even if the film's reception was lukewarm.

Robert John Burke as the Monster

Robert John Burke’s interpretation of the monster is anything but ordinary. Far from the typical terror-inducing creature, Burke’s monster is a tragicomic figure, embodying a mix of existential dread and biting wit. His performance transforms the monster into a symbol of media exploitation and societal malaise. While the film didn’t capture many accolades, Burke’s role remains a standout for its originality and depth, offering a unique take on the concept of monstrosity.

Helen Mirren as The Boss

Helen Mirren brings a commanding presence to her role as The Boss, Beatrice’s intimidating superior. Her performance adds a layer of satirical edge to the film, critiquing the corporate and media forces driving the narrative. Mirren’s role, though limited in screen time, adds significant weight to the film’s exploration of media power and manipulation.

Julie Christie as Dr. Anna

Julie Christie’s portrayal of Dr. Anna, a compassionate figure who helps Beatrice navigate her trauma, is both warm and enigmatic. Christie’s performance provides a necessary counterbalance to the film’s darker elements, offering a glimpse of human kindness amidst the chaos. Her role is instrumental in driving Beatrice’s character development and adding emotional depth to the narrative.

Baltasar Kormákur as Dr. Artaud

Baltasar Kormákur’s Dr. Artaud is a character steeped in irony and madness. His role as the scientist who might hold the key to the monster’s demise adds a layer of intrigue and dark humor to the film. Kormákur’s performance enhances the film’s satirical edge, reflecting the absurdity of its media and scientific themes.

Artistic Vision and Director's Intent

Hal Hartley’s No Such Thing is a rich tapestry of existential musings and media critique wrapped in a supernatural drama. Hartley, known for his distinctive storytelling and satirical edge, uses this film to explore themes of media exploitation and existential despair.

The monster, rather than a mere antagonist, becomes a vehicle for examining the absurdity of modern life’s media obsession. Hartley’s vision includes a minimalist visual style that mirrors the desolate landscapes of Iceland and the stark reality of New York City. This contrast emphasizes the film’s exploration of isolation and the impact of media culture on personal and societal levels.

Hartley’s refusal to recut the film, despite studio pressure, highlights his commitment to his artistic vision. The film’s unconventional narrative and its critique of media spectacle reflect Hartley’s intent to challenge audience expectations and provoke thoughtful reflection on contemporary issues.

Music and Sound

Soundtrack and Composer

The film’s soundtrack, composed by Dickon Hinchliffe, plays a crucial role in setting the tone. Hinchliffe’s compositions are minimalist yet haunting, echoing the film’s themes of existential struggle and media saturation. The music enhances the narrative by creating an atmospheric backdrop that complements the film’s introspective and satirical elements.

Music Supervisor

Linda Cohen, the film’s music supervisor, curated a soundtrack that aligns seamlessly with Hartley’s thematic goals. Her selections underscore the film’s critique of media culture and the emotional depth of its characters. Cohen’s expertise ensures that the soundtrack not only supports but enriches the film’s narrative, adding an additional layer of meaning.

Sound Design

William Whiston’s sound design is a pivotal element of the film, using ambient sounds and minimalistic effects to create an immersive experience. The sound design reflects the film’s thematic focus on media saturation and existential angst, transforming everyday sounds into components of a larger narrative.

Sound Mixing

The sound mixing, completed at New York’s Post Factory, expertly balances dialogue, sound effects, and music. The sound mixer’s work ensures that the film’s auditory elements enhance its themes without overshadowing the narrative. The mix contributes to the film’s overall impact, creating a cohesive and engaging auditory experience.

Special Effects

Special Effects Team

The special effects team at KNB EFX Group created a monster that is both visually striking and thematically significant. The blend of practical and digital effects underscores the film’s critique of media culture, turning the monster into a symbol of societal excess. The innovative approach to effects highlights the film’s unique take on the creature feature genre.

Unique Techniques

No Such Thing employs special effects in ways that are both symbolic and inventive. The combination of practical effects and CGI creates a monster that is both tangible and metaphorically rich. This approach enhances the film’s thematic exploration of media and consumerism, setting it apart from traditional horror films.

Nudity and Sex

The film includes nudity and sexual content that serves to explore the characters' vulnerabilities and the impact of media on personal relationships. These elements are integrated into the narrative to highlight the ways in which modern life’s relentless pursuit of sensation affects individual lives. The film’s approach is provocative yet insightful, adding depth to its critique of media culture.

Violence

Violence in No Such Thing is portrayed in a way that emphasizes the film’s thematic focus on media and spectacle. The depiction of violence serves to underscore the absurdity and consequences of living in a media-driven world. It is presented with dark humor and introspection, reflecting the film’s broader critique of contemporary society.

Pop Culture References or "Easter Eggs"

No Such Thing is rich with references to media culture and pop culture phenomena. These Easter eggs serve to deepen the film’s critique of societal obsessions and provide additional layers of meaning. The film’s nods to various media tropes and cultural touchstones enrich its narrative, offering a satirical look at the ways in which media influences our perceptions and relationships.

Similarities to Other Films in the Genre

No Such Thing shares thematic similarities with films like Network and The Truman Show, which also critique media culture and its impact on personal identity. Its exploration of media saturation and consumerism aligns with these films' broader themes, offering a thought-provoking commentary on contemporary society.

Differences from Other Films in the Genre

What sets No Such Thing apart is its unique blend of dark satire and philosophical inquiry. Unlike traditional horror films, it uses its monster as a metaphor for media and consumerism, offering a more nuanced and introspective approach. The film’s exploration of these themes provides a fresh perspective within the genre, making it a distinctive and thought-provoking piece.

Unique Aspects

No Such Thing is notable for its innovative use of genre conventions to explore deeper themes. By blending elements of supernatural drama with a critique of media culture, the film creates a narrative that challenges conventional storytelling and offers a fresh perspective on modern life. Its approach to character development, thematic exploration, and visual style sets it apart as a unique and engaging film.

Originality of the Soundtrack and Sounds

The film’s soundtrack and sound design are integral to its thematic exploration. Dickon Hinchliffe’s compositions and William Whiston’s sound design create an auditory experience that enhances the film’s critique of media and consumer culture. The originality of the soundtrack and sounds adds depth to the film’s narrative, making them a key component of its overall impact.

Originality of the Main Antagonist

The monster in No Such Thing is original in its role as a symbol of societal issues rather than a traditional horror antagonist. Its design and portrayal reflect deeper themes of media consumption and existential angst, adding depth and originality to the film’s exploration of contemporary issues. The creature’s role as a metaphor for modern life’s excesses makes it a compelling and thought-provoking element of the film.

Believability of the Plot

The plot of No Such Thing combines fantastical elements with a satirical critique of modern media culture. While the concept of an immortal monster may seem implausible, the film’s exploration of its themes is grounded in a believable portrayal of media spectacle and personal crisis. The narrative’s blend of reality and fiction creates a compelling and thought-provoking story that challenges conventional genre expectations.

In summary, No Such Thing is a film that defies easy categorization, blending supernatural drama with a sharp critique of modern media culture. Hal Hartley’s vision, combined with strong performances and a unique approach to genre conventions, makes it a film that continues to provoke thought and discussion. Whether you’re drawn to its existential themes or its satirical take on media, No Such Thing offers a distinctive and engaging cinematic experience.