Meet joe black torrent

Meet Joe Black () YIFY • Download Movie Torrent • YTS

meet joe black torrent

Meet Joe Black tells the story of media tycoon William Parrish, whose charmed life and orderly household are suddenly disrupted by the arrival. Bill Parrish, media tycoon, loving father and still a human being, is about to celebrate his 65th birthday. One morning, he is contacted by the. Meet Joe Black (). Meet Joe Black: William Parrish's birthday is drawing near. He is 64 years old. He has been a good man: a good business man with his .

He conveys the innocent wonder and pure joy of discovering human elements like the aforementioned peanut butter and more serious issues like falling in love. Meet Joe Black has been criticized for its length but like all movies that are three hours plus, there is a reason for that. And that is because it has something to say.

Something important to say. Meet Joe Black wants us to look at this film and then look at our lives and realize that there is a lot to live for. You just have to get through all the mist and cloudiness and you'll find it again.

Meet Joe Black () movie script - Screenplays for You

There is an innocence about how this movie feels and it is such a wonderful picture. It makes you feel good. Good to be in love if you are good to want to be in love if you are not already and good to be alive. It will make you glad that you did. I know I was and my life doesn't seem so bad right now even though there are many things that I could complain about like Ah hell, what's the point.

Life can only get better. Meet Joe Black helped me see that. Although the motivation isn't specified but implied in this film, Death wishes to experience the life he normally takes away--he wants to see what it's like to be human. He chooses Parrish to be his guide because Parrish is a hugely successful media mogul who has conviction, strong "moral fiber" and insight on life.

Compounding the situation, Parrish's daughter, Susan Claire Forlaniis a woman whom Brad Pitt's unnamed character met in a coffee shop that morning and had an instant mutual attraction with.

Black sticks close by William's side through much of the film, creating difficult situations at a time when Parrish's company is trying to deal with a financially attractive but ethically unsavory takeover bid, and he also puts the boil to somewhat strained familial relationships. First, a word of warning. This is a very long film 3 hoursand it tends to be very slowly paced.

If you are averse to either, or if you do not like any of the three principals? Pitt, Hopkins and Forlani--I'd advise you to avoid the film. For me, I never think that a film's length is a problem in itself. As long as the film works, I'd be happy with it lasting 4, 5, even 12 hours or more--heck, I even gladly sat through Gettysburg in the theater.

There have been films I've thought were too long such as Whatever Happened to Baby Jane,but it's contextual, not related to actual running time.

Helmer Martin Brest directs with a lot of deliberation. Lines of dialogue and responses are stretched out to "infinity and taken to the depth of forever". The camera gives us lots of lingering gazes. There is little to no "action" in the film. Much of it is similar to David Lynch's famed pregnant pauses. Some people hate that style. I love it although I love other styles, too--I like varietyand for me, the pacing makes this film seem much shorter than its actual running time.

It's the complete opposite of the pacing of, say, Medallionwhich is interesting given that both films feature Forlani. It's also interesting to note that Brest's career seems to match the pacing of Meet Joe Black. He's taken 2, 4, 5 and 6 years between films.

Obviously, Brest is not in a rush. If you watch Meet Joe Black immediately after watching Death Takes a Holiday, as I did this time around, a few things might strike you as odd and slightly negative at first.

The principal difference that had this initial effect on me was the change in the primary romantic relationship--between Joe and Susan and between Prince Sirki Frederic March and Grazia Evelyn Venable in the original. In the original, it's ambiguous whether Grazia doesn't recognize Sirki for what he really is all along. She at least never meets him as Sirki rather than Death-as-Sirki.

It creates interesting philosophical scenarios about humankind's conception and fear of death; Grazia, who is a bit aloof all along, may be embracing death rather than fearing it, not as something negative, but more metaphysically, as inherent in the idea of life.

It removes all of the philosophical points about one's attitude towards death with the exception of William, who is the only one who knows the truth, even in the end, and who implicitly goes through vacillating feelings about death. However, despite my initial hesitation on the change, I tried to remember my commitment to judge each film on its own terms rather than its relation to other works, and I realized that the relationship set up here is interesting for another reason--it explores public identity in relationships and the tensions that arise through dynamicism of that public identity.

That's a theme throughout the film, not just in its romantic relationships. Pitt has often been criticized for his performance here, but in my opinion, it's perfect for the character s --just as good in its own way as March's turn as Sirki in the original. He's supposed to be a supernatural being who normally relates to the world in a completely different way, but now he's suddenly made corporeal. He doesn't know what to do as a human. He's not used to relating to the world in that way.

He's not used to making facial expressions. He's never tasted food, and so on. The change he undergoes in the beginning and end of the film is amazing and shows just how skilled Pitt is.

Hopkins and Forlani are of course no slouches, either. Hopkins' ability to go from understated and elegant to manic is put to good use; the role seems tailor-made for him. Forlani, who has a very unusual but intriguingly beautiful face that always looks a bit pouty, gets to pout even more, creating a bizarrely complex but effective character.

The rest of the primary cast is just as good. The end result is a strangely dysfunctional family with a lot of depth. It's much more epic, of course, and that scope, plus the incredible score by Thomas Newman, pushes its emotional effectiveness up a notch.

But make sure you do not miss either film. Both are excellent and unusual. Parrish is on the edge of his seat, struggling to hide his panic. The conversation swirls on around Parrish, he is deaf to it: I sat between them at the Bronx Zoo benefit -- it was better than Seconal. Won't someone come to the door? Parrish is in shock, still striving to gain control of himself. As Coyle serves him, Parrish turns to Luisa: DREW Good, maybe they'll drown him out.

Parrish is still not hearing a word, preoccupied with the return of Luisa. A twenty-game winner or a Masters champion? Someone I could talk to. Luisa returns to Parrish as the others' conversation drones on: There was a gentleman at the door. He's waiting for you in the foyer. Parrish, spinning with anxiety, tries to summon up his courage to go as Allison continues: Finally Parrish rises from the table, starts out.

Do they seem that way to you, Daddy? No - uh - I don't Allison is about to press the point, but then drifts into disappointed silence as Parrish leaves the room. The door is open. He hesitates before he crosses the threshold, taking in as much as his eye can see, now tentatively, he enters. Parrish, poised in the doorway, looks around, nothing in sight. Parrish is startled, he shrinks backward for a moment, his eyes searching the room for the Voice, the timbre and pitch of which is exactly what he has heard before.

There is the sense that someone is there but Parrish cannot see him, and he does not dare look. Now a flicker of a shadow from behind a corner of the obscured glass, the section of the room most distant from Parrish, there is a shape.

Some kind of elaborate practical joke? He takes a step backwards. Although still diffused by the glass, the shape has definition, a person, a man, his features are not yet distinguishable, but he is there all right.

The man from whose lips fall 'rapture' and 'passion' and 'obses- sion' VOICE Just think of millenniums multiplied by aeons compounded by infinity, I've been around that long, but it's only recently that your affairs here have piqued my interest.

Call it boredom, the natural curiosity of me, the most lasting and significant element in existence has come to see you. Parrish struggles to make sense of what he is hearing. VOICE It requires competence, wisdom, experience -- all those things they say about you in testimonials -- and you're the one. And in return, you get Parrish squints, trying to make sense of what is happening. The question you've been asking yourself with increased regularity, at odd moments, panting through the extra game of handball, when you ran for the plane in Delhi, when you sat up in bed last night and hit the floor in the office this morning.

Am I going to die? The figure who is the Voice takes a step forward now, no longer obscured by the glass he comes into the light, re- vealing himself to be the Young Man seen previously in the coffee shop, but there is a change; he seems odd, off- center, not handsome but terrifyingly beautiful. A moment, Parrish beside himself. He cannot bring himself to speak, finally: Another moment Are you a dream?

Who the hell are you? The Young Man steps closer to Parrish, his face is inches from a shaking, sweating Parrish's face, the Young Man daring Parrish to identify him: Yes --' Parrish turns away. But the Young Man, spectacularly, is in front of him again. Parrish is shocked, stunned, terrified at the word, by what he has comprehended. He surveys the Young Man who, at this moment, actually seems bewildered by his effect.

You're just a kid in a jacket and a pair of pants. Let me ask your opinion. Do I blend in? A hopelessly confused Parrish does not respond for a moment. The Young Man nods, gently. Parrish and the Young Man take each other in, the sense that now they understand each other. Parrish does not hear her for the moment, Luisa steps inside the Library.

Parrish ignores her at first, finally he looks at Luisa then at the Young Man, then once more at both of them as if to verify the Young Man's presence has been acknowledged by Luisa. The Young Man interjects: Luisa nods perfunctorily and exits. Parrish is frozen, dumbfounded. Parrish does not answer at first. And that's what we're doing. It's not open for discussion. Parrish is frightened by the response. Now lead the way.

Parrish hesitates, then obediently leads the Young Man out of the library, down a long hallway and across the foyer. Could I say something? Well, here's another possibility.

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It's a little last minute, but how does this strike you? Some German firm went kerplunkt, Tiffany's picked these things up, they're perfect party favors, however they're not personal, they're winter scene or something, snow-flakes and dachshunds Parrish and the Young Man appear at the table, an awkward pause ensues, the unannounced guest's presence at a family dinner being noted, and the guest himself carefully survey- ed.

Finally, Allison breaks the ice: Parrish is horribly uncomfortable as the Young Man looks at each person as if he were discovering a face for the first time. PARRISH Uh -- sorry -- to have stepped away for so long -- uh -- this is a friend of mine I asked to drop by -- we got to talking and stuff -- uh -- he's going to join us for dinner -- um -- Parrish drifts into another awkward pause. And wouldn't it be nicer if my father would introduce you?

How nice to meet you. This is my daughter, Allison, and her husband, Quince, Drew, my number one, works with me Parrish drifts off as the Young Man awkwardly shakes hands with each person. Does your friend have a name? Come on, a name. This is - uh - uh The group waits patiently. Parrish once more drifts into silence. Joe, turned on by Quince's broad smile, reacts to it as Drew squints observingly at Joe. DREW Is there any more to it?

Parrish's brow darkens and a name tumbles from his lips: Nice to meet you, Mr. Won fifteen and lost two for the Brooklyn Dodgers in I'm king of my Rotisserie League. Let's sit down -- Luisa has set a plate in front of Joe, and Parrish's, which was taken to the kitchen to be warmed, has been returned. Joe looks over at the other guests, then picks up his uten- sils gingerly, strives to copy the others, stops, staring at his food.

JOE As long as it takes. Drew is provoked by the response, but remains polite: JOE We have an arrangement now. DREW What side of the industry did you say you were on? JOE I didn't say. I have the feeling you guys got the broad strokes already. Need any help with the details? Parrish falls silent again, looking for an answer.

DREW cont'd I'm sorry -- business at dinner The doors to the dining room open, Susan appears. I'm here, aren't I? Wouldn't miss a loose end meeting. What's on the table for discussion? Party favors, flowers -- hi Dad, hi Drew -- She kisses Drew in some light, humorous way they have ob- viously done before, their heads bobbing like plastic water toys and their lips meeting mid-air.

At the kiss's conclusion Susan suddenly notices Joe is present and has been watching. She is shocked, embarrassed, pleased, conflicted, an instant and wide spectrum of emotions. The Corinth Coffee Shop. He was looking for a doctor.

DREW Joe, you do get around. Joe is happily confounded by all the interaction. So sturdy, so straight -- Joe has heard Susan's question but, as he studies her, doesn't answer.

Parrish pushes his plate away. Parrish tenses, but Joe doesn't answer. You weren't so silent this morning. Drew reacts to this allusion of intimacy. Parrish stands, motions for Joe to rise. JOE It's so very nice to see you again. Maybe it's because you found out I'm Bill Parrish's daughter. Big day tomorrow, everybody. Joe rises, follows Parrish to the door, stops: JOE to Susan Susan. He makes an awkward little bow, then heads for the nearest door.

Joe pivots, and he follows Parrish out the proper door. Susan's eyes are still on the door where Joe exited, her face reflecting her irritation and bewilderment, as well as a tinge of excitement. I'm sorry, I'm a little discon- certed, that stuff between you and Susan -- uh -- threw me. I mean that you knew her and everything -- JOE I didn't know her. The body I took knew her. The man she met in the coffee shop this morning. I - uh - took him. I was just having such a wonderful time -- Besides, isn't this what I'm here for?

Parrish suddenly looks very anxious, Joe stops. JOE cont'd You seem uncomfortable, Bill. So -- He opens a door. Chair, lamp, bed -- Parrish is in a stunned state, chatters on unconsciously: Had to stay in a station manager's house there unexpectedly - best night's sleep I ever had. Ordered twenty, they filled a con- tainer and shipped them right over, I've put one in every bedroom here and in the country.

Joe tests the springs.

Meet Joe Black (1998)

JOE What a good idea. Would you like the man's name? Parrish glances around, a room in which the occupant could not want for anything. JOE You're putting me on the spot, Bill.

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JOE cont'd Let's put it this way. When I go, you go. JOE That's the best I can do. I just saw my doctor, he told me everything was fine.

Did he mention an irreparab- ly weak vein in the further reaches of your famous brain? Were there any prognostications about the possibil- ilites of a fatal collision on a golf cart or suffocating in an avalanche on a ski vacation in Gstaad? Parrish keeps still, trying to cool the heat of Joe's temper.

But meanwhile, you are still here. Call it gravy, frosting on the cake, whatever it is you say. JOE Not at all. JOE Good night to you, Bill. Parrish gently closes the door. Joe looks around, checks out his surroundings: Miss Allison asked if you would like to have your dinner kept warm?

Black's luggage was misplaced by the airlines. Would you mind get- ting a few things together for him? A couple of suits, some shirts, ties, underwear, shoes.

Have Coyle take his measurements off what he is wearing tonight. Luisa nods, and heads back downstairs. Parrish enters his den, takes a seat in his chair, stares into the middle distance, ruminates. In the process he opens this door, steps out into the hallway. Coyle, the butler, has his back to Joe and does not see him for a moment. In front of Coyle, an open jar of peanut but- ter which he is spreading in generous hunks of Wonder Bread.

Joe is fascinated by the process. Coyle suddenly hears the silence, looks up and see Joe, standing up embarrassedly. Nice to meet you. The staff all mumble expansive "Good evening, sir"s to Joe.

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He motions to them to sit, they do but Coyle does not. Coyle shifts from foot-to-foot, the staff is not used to having Parrish family or guests in this part of the house. JOE to Coyle What are you eating. Coyle regards his peanut butter sheepishly. But miles ahead of Peter Pan. Joe nods, Coyle fashions a spoonful, offers it to Joe.

But he has not yet found a comfortable way of masticating, his mouth and tongue go every which way, the staff observes him, fascinated. JOE Yes, I am. I thoroughly enjoyed this - uh - peanut butter. Joe raises the spoonful of peanut butter in a kind of toast to the staff.

JOE cont'd I'll be moseying on. He heads out, with the spoonful of peanut butter, to cheer- ful "Goodnight, Mr. Black"'s, his tongue again licking the edges of the spoon. Susan is swimming laps, looking very professional in a black Speedo suit, Joe wanders in, still licking his peanut butter. He observes her, but she is unaware of him, however now, as she makes a barrel turn, his shadow falls over a reflection from a window, she aborts her lap, looks up to see who it is. Susan climbs out of the pool, gets halfway up the ladder, points to a stack of towels.

Joe turns to the towels, but one hand is occupied with the spoonful of peanut butter, he shifts it to the other hand, can't manage the huge Turkish towel one-handed, now implants the spoon in his mouth, lifts the towel with both hands and presents it to Susan. SUSAN You appear at his side out-of-the- blue, stay at his house, eat dinner with his family, it's practically a first.

You're in the red-hot center of big business and I thought you were a regular Joe. JOE I am Joe. SUSAN Not the one I met this morning, hit- ting on me in as nice a way as I've been hit on in a long time, but the moment you find out I'm my Dad's daughter, you act like a stranger.

JOE That is not my intention. Joe continues to nibble at his peanut butter. To make little dreams in coffee shops, turn a woman's head, and I don't mind admitting it was turned, I liked it, but ten hours later I feel like a fool. I don't get it. You, my father, here in this house, the cof- fee shop, it's making me upset, and I don't like being upset. Who are you anyway? And what are you eating? JOE mumbles Peanut butter. He finishes the spoonful. JOE cont'd But it's gone now.

He shifts the spoon from hand to hand, starts to stick it in his pocket, realizes this is inappropriate. Susan holds her hand out to him, he places the spoon in it and she sets the spoon on the table with the towels.

She watches, fascinat- ed, as Joe licks his gums, enjoying every last bit of his spoonful. JOE Do you love Drew? JOE When you put your mouth to his, Susan, it seems a frequent thing. Nor is where I put my mouth.

Do you live here? Then I'm going home. JOE I don't have any. She finishes drying herself, drops the towel on a chair, and prepares to leave. I didn't mean to offend you at dinner. I'm not quite at home some- times with people. I get busy doing - uh - what I do, and I don't seem to have developed -- He drifts off.

JOE I have a certain function to per- form, and that seems to take all of my time. Bu sometimes - uh - I speculate - uh - I haven't left room for - uh - anything else. JOE Did you know you have a wet spot on your shoulder? She glances at her shoulder, he grabs a towel, touches the drops of water, pats them dry, hands her the towel. She flashes a nervous smile. JOE Goodnight to you, Susan. Susan steps towards a door, Joe takes a step in the wrong direction, they almost walk into each other.

Now she takes a step in another direction, as does Joe, again they almost collide. Joe is completely puzzled, finally Susan heads for one door, Joe for another. Susan indicates yet another door. JOE after a moment Thank you. Joe redirects himself, goes to the door. As they both are about to exit, Joe and Susan sneak furtive looks at each other across the pool, smile at catching each other's glances.

For a moment Susan's eyes remain on the door through which he has gone.

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Now she grips the towel over her shoulders, the one Joe gave her, pats the same spot he did. He nods and greets them as he strides down the hall, brisk "Good morning"'s to Coyle and Luisa.

Meet Joe Black (1998) - That Was Wonderful Scene (7/10) - Movieclips

JOE Good morning, Bill. How do you feel? This is the left- field thing of all time. What do I do? What do I tell my family? You'll ruin the good start we had last night. I felt as if I were being treated like a person.

Parrish regards Joe, the tie is a sorry mess now, a batwing of silk stretching across his collarbone. JOE cont'd But I did so enjoy your family. Parrish is startled, he regards Joe carefully.

This 'adven- ture' involved only me, right? Silence as Joe considers the point, Parrish quickly crosses to him, undoes the tie, and now begins tying it for him. JOE Sounds fair enough. It's a truth exchanged between two people. JOE You've got a deal. He has now, with some difficulty, completed the tying of Joe's tie, adjusts it beautifully on Joe's collar, then spins him around in front of a mirror.

Joe, catching sight of his own appearance, rises to the balls of his feet, quite taken. JOE cont'd This is great! Joe immediately extends his hand toward Parrish, but Parrish freezes on seeing the hand, stares at it, now takes it. Joe pumps Parrish's hand vigorously, then breaks into a broad smile.

Parrish senses Joe's pleasure, his slight preening, his eyes check- ing out the good-looking women headed for the offices at the top of corporate high-rises. A flicker from Joe. He has heard what Parrish has said, his eyes busy with the grift and the sparkle of the Avenue, but he is concentrating on Parrish's words. JOE When you were shaving this morning, you weren't just shaving, right? JOE You were hatching ideas, making plans, arriving at decisions, right?

JOE So you understand the concept then. When you're busy here, your work, what your task is, is being executed elsewhere. JOE So you've grasped the idea. Now multiply it by infinity and take it to the depth of forever, and you still will have barely a glimpse of what I am talking about. Parrish falls silent, chewing over Joe's admonition.

JOE Make an exception? They stride on, cutting through the crowd, Joe all at home in his new surrounding, but Parrish just the opposite, un- characteristically uncomfortable, phrases forming on his lips but unspoken, then suddenly he blurts out: I'm still young, this is not my time -- JOE That's what everybody says. JOE That's what everybody says. Parrish is trying to control himself, glances at Joe.