For that reason alone Joel and Ethan Coen’s The Man Who Wasn’t There provides sustained pleasure. IN MICHAEL POWELL’S 1946 fantasy A Matter of Life and Death, the celestial messenger who shuttles between a monochrome afterlife and a color-saturated mortal sphere remarks: “One is starved for Technicolor up there.” Now that all movies are in color (even if it’s color mostly lacking the deep dyes Powell worked with), a different lament emerges: One is starved for black-and-white down here.
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