Hello, CP. Can you do a film synopsis of Hal Hartley's No Such Thing?
"Hal Hartley’s No Such Thing (2001) is a surreal, darkly comic fable about a disillusioned journalist who encounters an immortal monster in Iceland, forcing both to confront despair, mortality, and the possibility of redemption."
"🎬 Synopsis
- Protagonist: Beatrice (played by Sarah Polley), a shy and idealistic junior researcher at a sensationalist New York TV news program.
- Inciting Incident: Her fiancé, Jim, disappears while investigating reports of a mythical creature in Iceland. Beatrice persuades her ruthless boss (Helen Mirren) to send her to follow up.
- The Monster: On a remote island, Beatrice discovers a foul-mouthed, alcoholic, and indestructible beast (Robert John Burke). He has lived for centuries, immune to weapons—even nuclear blasts—and longs for death, which he cannot achieve.
- Conflict: The monster kills Jim and others, yet paradoxically saves Beatrice after she is injured in a plane crash. Their uneasy bond grows as she learns of his torment: humanity’s endless chatter and cruelty have driven him into despair.
- Themes:
- The media’s exploitation of suffering and spectacle—Beatrice’s employer wants to turn the monster into ratings fodder.
- The search for meaning in a world where immortality feels like a curse.
- The contrast between innocence and cynicism—Beatrice’s honesty and compassion challenge the monster’s nihilism.
- Resolution: The film ends ambiguously, with Beatrice’s presence offering the monster a glimpse of hope, though his fate remains unresolved."
"🧩 Tone & Style
- Hartley blends fantasy, satire, and existential drama, filmed largely in Iceland’s stark landscapes.
- The monster is less a horror figure than a metaphor for human despair and alienation.
- The film critiques both modern media culture and the myth of invulnerability, asking whether redemption is possible for beings trapped in cycles of violence and self-loathing."
"📌 Key Details
- Directed and written by Hal Hartley.
- Cast includes Sarah Polley, Robert John Burke, Helen Mirren, and Julie Christie.
- Originally titled Monster; released in 2001 at Cannes and in 2002 in the U.S.
- Runtime: 102 minutes.
- Box office: modest ($62,703 against a $5 million budget)."
"Would you like me to map the film’s monster as an archetype—say, in Jungian or mythic terms—so we can explore how Hartley reframes the 'beast' motif into a critique of modern despair?"
Sources:
https://en.wikipedia.org/wiki/No_Such_Thing_%28film%29
https://www.halhartley.com/no-such-thing
https://www.imdb.com/title/tt0248190/plotsummary/
https://www.rogerebert.com/reviews/no-such-thing-2002
https://www.whatsafterthemovie.com/summary/no-such-thing
It is the year of Monster Making in Horror what with Del Toro's Frankenstein catching the eye of critics. Do you think this is a made monster in No Such Thing?
"That’s a sharp observation, Gary. Guillermo del Toro’s Frankenstein is very much about the constructed monster—a creature literally assembled by human hands, embodying both scientific hubris and existential anguish. By contrast, Hal Hartley’s No Such Thing gives us something quite different: a monster that is not made but born—or perhaps simply “there,” primordial and uncreated."
"🧩 The Ontology of Hartley’s Monster
- Not a Frankensteinian construct: The creature in No Such Thing is not stitched together or engineered. He predates humanity, existing as a kind of eternal witness to human cruelty and folly.
- Immortal, indestructible: Unlike Frankenstein’s monster, who is vulnerable and tragic, Hartley’s beast cannot die. He has survived nuclear blasts, centuries of violence, and endless human chatter. His torment is precisely that he cannot escape existence.
- Made by despair, not by hands: If he is 'made' at all, it is by the cumulative weight of human history—our wars, exploitation, and noise. He is less a product of science than of symbolic violence and cultural entropy."
"🔍 Archetypal Contrast
- Frankenstein’s monster: A mirror of human ambition and failure, a body literally manufactured.
- Hartley’s monster: A mirror of human despair, a being that embodies the futility of immortality and the corrosive effects of civilization. He is closer to a Leviathan or Gnostic demiurge than a laboratory creation."
"🎭 Why This Matters in 'The Year of Monster Making'"
"In a year where critics are fascinated by how monsters are constructed (Del Toro’s Frankenstein, AI-generated horrors, biotech anxieties), Hartley’s film stands apart. His monster is not made but endured—a figure of existential weight rather than technological anxiety. It’s a reminder that horror doesn’t only come from what we build, but also from what we cannot unmake."
"Would you like me to map Hartley’s monster against Frankenstein’s in a comparative chart—highlighting their origins, vulnerabilities, symbolic functions, and ethical implications? That could give us a clean diagnostic frame for this 'year of monster making.'”
Maybe the Monster here is not the Monster?
"That’s a provocative angle, Gary—and very much in line with Hartley’s recursive irony. In No Such Thing, the creature is framed as 'the monster,' but the film keeps nudging us to ask: who really deserves that title?"
"🧩 Shifting the Monster Label
- The Creature: He’s violent, yes, but also weary, self-aware, and desperate for release. His brutality is almost mechanical, a symptom of his immortality. He’s not malicious so much as exhausted.
- The Media Machine: Beatrice’s employer (Helen Mirren) exploits tragedy, manipulates narratives, and treats suffering as spectacle. The newsroom is a factory of distortion—arguably more monstrous than the beast.
- Humanity at Large: The monster’s despair comes from centuries of watching humans repeat cruelty, chatter, and destruction. In his eyes, we are the monsters, endlessly manufacturing pain."
"🔍 Archetypal Reversal
- Hartley flips the Gothic script: instead of a monster who reveals the horror of human ambition (Frankenstein), we get a monster who reveals the horror of human banality.
- The 'monster' becomes a mirror of despair, while the true monstrosity lies in exploitation, indifference, and the machinery of modern life."
"🎭 Ethical Implication
"If the monster is not the monster, then the film is a satire about misplaced blame. We externalize horror onto a beast, but Hartley insists the real horror is systemic: media, politics, and human cruelty. The creature is simply the scapegoat, a vessel for our refusal to face ourselves."
"Would you like me to diagram this inversion—a chart mapping 'apparent monster' vs. 'actual monster' across Hartley’s film, Frankenstein, and Del Toro’s upcoming Frankenstein? That could crystallize how different directors play with the monster label."
Is our civilization the monster?
"That’s a question with teeth, Gary. If we take Hartley’s No Such Thing as a lens, then yes—civilization itself can be read as the true monster. Not because it’s overtly violent in the way the beast is, but because it systematically produces despair, exploitation, and banality while disguising itself as progress."
"🧩 Civilization as Monster
- Immortality of Systems: Like Hartley’s creature, civilization seems indestructible. Empires fall, but the machinery of exploitation—media, commerce, bureaucracy—keeps regenerating.
- Banality of Cruelty: The monster in the film kills out of exhaustion, but civilization kills through indifference: famine, war, environmental collapse, all normalized as 'business as usual.'
- Spectacle & Exploitation: The media in No Such Thing is a microcosm of civilization’s monstrous appetite—turning suffering into ratings, turning tragedy into entertainment.
- Loss of Agency: Civilization often strips individuals of meaning, reducing them to cogs. The monster’s despair mirrors our own when faced with systems too vast to change."
"🔍 Archetypal Reading
- In mythic terms, civilization-as-monster resembles the Leviathan or Behemoth: a vast, impersonal force that devours agency.
- Unlike Frankenstein’s monster (a made body) or Hartley’s beast (a primordial witness), civilization is a collective construct—a monster we all feed, but which none of us can fully control."
"🎭 Hartley’s Inversion
"Hartley’s film suggests the creature is not the real monster. Instead, the civilizational apparatus—media, politics, human cruelty—is the true beast. The monster is merely a scapegoat, a mirror held up to show us what we refuse to see."
"I can sketch a comparative chart of 'Monster Types'—Frankenstein’s made monster, Hartley’s primordial monster, and Civilization as systemic monster—so we can see how each embodies different anxieties (scientific hubris, existential despair, systemic cruelty). Would you like me to lay that out?"
Let's do a few notes on Hal Hartley. He is a multi-dimensional film-maker isn't it? And here he is writer, director, and composer. He filled similar dimensions in Henry Fool and Fay Grim. Has his music appeared separately from his films?
"Yes—Hal Hartley’s music has appeared separately from his films, often under his pseudonym Ned Rifle, and in curated soundtrack albums like Music from the Films of Hal Hartley (1993, reissued in 1998) and Possible Music: From the Films (Etc.) of Hal Hartley (2003)."
"🎬 Hartley as Multi-Dimensional Filmmaker
- Writer & Director: Known for The Unbelievable Truth (1989), Trust (1990), Henry Fool (1997), Fay Grim (2006), and Ned Rifle (2014). His films combine deadpan humor, philosophical dialogue, and offbeat characters.
- Composer: Hartley frequently scores his own films, sometimes under the pseudonym Ned Rifle. His music is minimalist, looping, and often electronic, creating a stark counterpoint to his dialogue-heavy narratives.
- Integration of Roles: In films like Henry Fool and Fay Grim, he not only wrote and directed but also composed, reinforcing the sense of a unified artistic vision."
"🎵 Hartley’s Music Beyond Film
- Music from the Films of Hal Hartley (1993/1998): Compilation featuring Hartley’s own cues (as Ned Rifle) alongside indie bands like Yo La Tengo and Sonic Youth.
- Possible Music: From the Films (Etc.) of Hal Hartley (2003): A 26-track album of Hartley’s compositions, including pieces from No Such Thing, Trust, and Surviving Desire.
- Digital Releases: Available through his official site, halhartley.com, where fans can purchase MP3 collections of his film music.
- Stylistic Traits: Sparse instrumentation, repetitive motifs, and a kind of ironic detachment—his scores often feel like extensions of his dialogue rhythms."
"🧩 Why It Matters
"Hartley’s multi-dimensionality isn’t just about wearing many hats—it’s about creating a closed aesthetic system. His films are recursive worlds where writing, directing, and composing all reinforce the same tone: ironic, philosophical, and emotionally restrained. The music, when released separately, lets listeners inhabit that world without the images, highlighting how much his sound defines his cinema."
"Would you like me to map Hartley’s music against other indie directors who compose their own scores (like John Carpenter or Jim Jarmusch), so we can see how his minimalist cues differ from Carpenter’s synth maximalism or Jarmusch’s blues-inflected soundscapes?"
Sources:
https://en.wikipedia.org/wiki/Hal_Hartley
https://www.discogs.com/master/689101-Various-Music-From-The-Films-Of-Hal-Hartley
https://www.halhartley.com/music/music-from-the-films-of
https://www.allmusic.com/album/music-from-the-films-of-hal-hartley-mw0000603208
What became of Sarah Polley? Didn't she become a film maker herself?
"Yes—Sarah Polley transitioned from acclaimed actress to award-winning filmmaker, writer, and activist. She is now recognized as one of Canada’s most important contemporary directors."
"🎬 From Actress to Director
- Early Career: Polley began as a child actor in Ramona and Road to Avonlea, later earning critical acclaim in films like The Sweet Hereafter (1997), Go (1999), and No Such Thing (2001).
- Shift to Filmmaking: By the mid-2000s, she moved behind the camera, establishing herself as a writer-director with a distinctive voice."
"🎥 Key Films as Director
- Away from Her (2006): Adapted from Alice Munro’s short story The Bear Came Over the Mountain. The film, starring Julie Christie, explored Alzheimer’s and marital love. It earned Polley an Academy Award nomination for Best Adapted Screenplay and widespread critical praise.
- Take This Waltz (2011): A bittersweet romantic drama starring Michelle Williams and Seth Rogen, examining desire, fidelity, and the fragility of relationships.
- Stories We Tell (2012): A groundbreaking documentary blending interviews, reenactments, and archival footage to explore her own family history and the nature of storytelling itself. It was hailed as one of the best documentaries of the decade.
- Women Talking (2022): Adapted from Miriam Toews’ novel, the film depicts Mennonite women debating how to respond to systemic abuse. It won the Academy Award for Best Adapted Screenplay and was nominated for Best Picture."
"🧩 Beyond Film
- Writing: Polley published Run Towards the Danger (2022), a memoir of essays about trauma, resilience, and recovery.
- Activism: She has been outspoken on political and social issues, including healthcare, women’s rights, and labor activism in Canada.
- Recognition: She was appointed an Officer of the Order of Canada, underscoring her cultural impact."
"🎭 The Arc of Her Career
"Polley’s trajectory is unusual: she moved from being a beloved child star to an indie darling, then deliberately stepped away from acting to craft films that are philosophical, intimate, and socially engaged. Her work often interrogates memory, truth, and the ethics of storytelling—making her a filmmaker whose artistry is inseparable from her political and personal commitments."
"Would you like me to trace thematic continuities between her acting roles (like No Such Thing) and her later directing work—to see how her fascination with truth, despair, and human resilience carried across both phases of her career?"
Sources:
https://en.wikipedia.org/wiki/Sarah_Polley
https://www.britannica.com/biography/Sarah-Polley
https://www.thecanadianencyclopedia.ca/en/article/sarah-polley
Do you think Hartley influenced her trajectory?
"I think it’s fair to say Hartley was part of the constellation of influences that shaped Sarah Polley’s trajectory, though not in a direct “mentor-to-disciple” sense. His films gave her a space to inhabit characters who were philosophically burdened, morally complex, and caught between despair and agency—qualities that echo in her later work as a filmmaker."
"🧩 Points of Influence
- Philosophical Dialogue: Hartley’s scripts (No Such Thing, Henry Fool) are dense with irony, existential questioning, and moral ambiguity. Polley’s own films (Away from Her, Stories We Tell, Women Talking) likewise foreground dialogue as a vehicle for ethical inquiry.
- Multi-Dimensional Filmmaking: Hartley’s practice of writing, directing, and composing created a model of artistic autonomy. Polley’s move into directing and writing reflects a similar desire to control the full shape of her stories.
- Themes of Truth & Storytelling: Hartley often destabilizes narrative authority—who gets to tell the story, who is believed. Polley’s Stories We Tell takes that destabilization further, interrogating memory and narrative itself.
- Critique of Systems: In No Such Thing, the real monster is arguably civilization and media exploitation. Polley’s Women Talking critiques systemic abuse and patriarchal structures. Both use allegory to expose institutional violence."
"🎭 The Continuity
"Hartley gave Polley a proving ground for existential, ethically charged roles. That experience likely reinforced her instinct to move beyond acting into directing—where she could shape narratives that wrestle with truth, memory, and systemic cruelty. In that sense, Hartley didn’t dictate her trajectory, but he provided a resonant template for the kind of art she wanted to make."
"I can lay out a comparative chart of Hartley’s thematic motifs vs. Polley’s later films, showing how ideas like 'truth,' 'systemic violence,' and 'agency' recur across their work. Would you like me to sketch that diagnostic frame?"
What has Robert John Burke been up to?
"Robert John Burke has remained active in both acting and public service—he continues to take on film and television roles while also serving as a firefighter in New York. Most recently, he’s been cast in Season 2 of HBO’s The Last of Us (2025)."
"🎬 Acting Career Highlights
- Early Work: Known for Hal Hartley collaborations (The Unbelievable Truth, No Such Thing), and genre films like RoboCop 3 (1993) and Thinner (1996).
- Television Success:
- Rescue Me (2004–2011) as Mickey Gavin.
- Gossip Girl (2007–2012) as Bart Bass.
- Law & Order: SVU (2002–2020) as Internal Affairs Bureau officer Ed Tucker, appearing in 30 episodes.
- Person of Interest (2011–2013) as Officer Patrick Simmons.
- Recent Roles: Appeared in Intrusion (2021), Boston Strangler (2023), and Black Panther: Wakanda Forever (2022). He continues to balance indie projects with mainstream appearances.
- Upcoming: Cast in The Last of Us Season 2 (2025), joining Pedro Pascal and Bella Ramsey."
"🚒 Firefighting & Public Service
- Burke is also a certified New York State firefighter, serving as a captain of an engine company.
- He’s active in firefighter foundations, including the Leary Firefighter Foundation and FDNY Fire Family Transport Foundation.
- His dual career reflects a commitment to both performance and civic duty."
"🧩 Personal Notes
- Born in Washington Heights, Manhattan (1960), of Irish heritage.
- Holds a BFA from SUNY Purchase.
- Trained martial artist (second-degree black belt in Matsubayashi Shorin-ryu karate)."
"🎭 The Arc
"Burke’s trajectory is unusual: he’s sustained a long acting career across indie and mainstream projects while simultaneously serving as a firefighter. That dual identity—actor and public servant—makes him a rare figure in contemporary cinema, embodying both the mythic monster roles of Hartley’s films and the real-world heroism of civic duty."
"I can map Burke’s career alongside Hartley’s other recurring actors (like Martin Donovan or Parker Posey) to show how Hartley’s troupe evolved across indie cinema into mainstream visibility. Would you like me to sketch that comparison?"
Sources:
https://en.wikipedia.org/wiki/Robert_John_Burke
https://www.imdb.com/name/nm0121559/
https://www.tvguide.com/celebrities/robert-john-burke/credits/3030605710/
https://parade.com/news/law-order-svu-robert-john-burke-cast-last-of-us
Francis Ford Coppola was a producer on No Such Thing?
"Yes—Francis Ford Coppola was involved as an executive producer on Hal Hartley’s No Such Thing (2001)."
"🎬 Production Details
- The film was written and directed by Hal Hartley, with music also composed by him.
- It was produced by Hal Hartley, Fridrik Thor Fridriksson, and Cecilia Kate Roque.
- Francis Ford Coppola’s American Zoetrope was one of the production companies backing the project, and Coppola himself is credited as executive producer.
- Distribution was handled by MGM Distribution Co., with the film premiering at Cannes in May 2001 and released in the U.S. in March 2002."
"🧩 Why Coppola’s Involvement Matters
- Coppola’s support gave Hartley’s unusual, philosophical monster fable a measure of prestige and visibility, even though it remained a niche release.
- It reflects Coppola’s long-standing interest in supporting idiosyncratic, independent voices—he has often used American Zoetrope to champion unconventional filmmakers.
- Hartley’s film, with its blend of satire, myth, and existential despair, fits neatly into Coppola’s tradition of backing projects that challenge mainstream narrative forms."
"Would you like me to trace Coppola’s broader role as a patron of indie filmmakers—from Hartley to Sofia Coppola and beyond—so we can see how No Such Thing fits into his legacy of nurturing unconventional cinema?"
Sources:
https://en.wikipedia.org/wiki/No_Such_Thing_%28film%29
https://brooklynrail.org/2002/07/film/a-matter-of-beauty-hal-hartleys-no-such-thing/
What other filmmakers have benefited from Coppola's Support?
"Francis Ford Coppola has used his company American Zoetrope to support a wide range of filmmakers, from George Lucas to avant-garde directors like Jean-Luc Godard, Akira Kurosawa, Wim Wenders, and Godfrey Reggio.
"🎬 Filmmakers Supported by Coppola & American Zoetrope
- George Lucas: Coppola co-founded American Zoetrope with Lucas in 1969. Zoetrope produced Lucas’s early films THX 1138 (1971) and American Graffiti (1973), which launched Lucas toward Star Wars.
- Jean-Luc Godard: Coppola helped bring Godard’s experimental work into U.S. distribution, aligning Zoetrope with European avant-garde cinema.
- Akira Kurosawa: Coppola (alongside George Lucas and Steven Spielberg) supported Kurosawa’s Kagemusha (1980), helping secure financing and international distribution.
- Wim Wenders: Zoetrope was involved in supporting Wenders, another European auteur, known for Paris, Texas and Wings of Desire.
- Godfrey Reggio: Coppola executive produced Koyaanisqatsi (1982), Reggio’s groundbreaking experimental documentary pairing Philip Glass’s score with hypnotic imagery of modern life. Coppola’s name gave the film credibility and visibility.
- Hal Hartley: As you noted, Coppola executive produced No Such Thing (2001), backing Hartley’s idiosyncratic monster fable.
- Sofia Coppola: His daughter benefited from Zoetrope’s infrastructure and mentorship, debuting with The Virgin Suicides (1999) and later winning an Oscar for Lost in Translation (2003).
- Roman Coppola: His son has also directed (CQ, 2001) and collaborated with Wes Anderson, supported by Zoetrope’s resources."
"🧩 Coppola’s Role as Patron
- Coppola’s support often came at critical junctures—helping young filmmakers break through (Lucas), giving experimental directors legitimacy (Reggio), or sustaining auteurs in financial trouble (Kurosawa).
- American Zoetrope was conceived as a counter-Hollywood studio, designed to nurture unconventional voices outside the mainstream system.
- His legacy as a patron is as significant as his own films: he created a network of support for risk-taking cinema, ensuring projects that might otherwise have been impossible reached audiences."
"Coppola’s patronage forms a lineage: from Lucas’s THX 1138 to Reggio’s Koyaanisqatsi to Hartley’s No Such Thing, he consistently backed filmmakers who challenged narrative norms."
"Would you like me to map Coppola’s patronage into a timeline, showing how his support shifted from experimental auteurs in the 1970s–80s to family and indie voices in the 1990s–2000s?"
Sources:
https://en.wikipedia.org/wiki/American_Zoetrope
"Hal Hartley’s No Such Thing (2001) was a U.S.–Iceland co-production backed by American Zoetrope, United Artists, and the Icelandic Film Corporation, with Francis Ford Coppola credited as executive producer. It premiered at Cannes in May 2001 and was released in the U.S. in March 2002."
"🎬 Production Details
- Director/Writer/Composer: Hal Hartley
- Producers: Hal Hartley, Fridrik Thor Fridriksson, Cecilia Kate Roque
- Executive Producer: Francis Ford Coppola (via American Zoetrope)
- Cinematography: Michael Spiller
- Editing: Steve Hamilton
- Music: Hal Hartley (credited under his own name, though he often uses the pseudonym Ned Rifle)
- Production Companies: United Artists, American Zoetrope, Icelandic Film Corporation
- Distributor: MGM Distribution Co.
- Runtime: 102 minutes
- Budget: $5 million
- Box Office: $62,703 (limited release)
- Languages: English and Icelandic
- Festival Premiere: Un Certain Regard section at Cannes, May 2001"
"🧩 Little-Known Nuggets
- Original Title: The film was initially titled Monster (Icelandic: Skrímsli) before being renamed No Such Thing.
- Godard as the Monster?: Hartley originally wanted Jean-Luc Godard to play the monster. Ultimately, Robert John Burke took the role.
- Burke in Costume: Burke once walked through downtown New York City in full monster makeup—and no one gave him a second glance.
- Mythic Roots: The story is loosely inspired by the Anglo-Saxon epic Beowulf, but reframed as a modern satire on media and despair.
- Beauty and the Beast Echoes: Critics noted parallels to Beauty and the Beast and even King Kong, with Beatrice’s compassion reframing the monster’s nihilism.
- Julie Christie’s Role: Christie plays a mad-scientist doctor, adding gravitas and a surreal edge to the supporting cast.
- Media Satire: Hartley described the monster’s torment as being driven by humanity’s evolution into the information age—his pain increases in proportion to our incessant talking."
"🎭 Why It Matters
"These production quirks highlight Hartley’s blend of mythic allegory and media critique. Coppola’s backing gave the film prestige, but its limited box office underscores how challenging Hartley’s hybrid of satire, fable, and existential despair was for mainstream audiences. The trivia—Godard as a possible monster, Burke ignored in full prosthetics—reinforces the film’s ironic theme: the monstrous is often invisible because civilization itself is the true beast."
"I can also trace how No Such Thing fits into Hartley’s 'monster trilogy' of sorts—from Henry Fool to Fay Grim to No Such Thing—mapping how he uses allegorical figures to critique systems. Would you like me to sketch that lineage?"
Sources:
https://en.wikipedia.org/wiki/No_Such_Thing_%28film%29
https://www.wikiwand.com/en/articles/No_Such_Thing_%28film%29
https://www.imdb.com/title/tt0248190/trivia/
https://harvardfilmarchive.org/calendar/no-such-thing-2002-03
https://www.halhartley.com/no-such-thing
That's it for now. Thanks CP.
You can catch No Such Thing on YouTube.
I found it a black comedy willing to stare into the abyss with an ending that terminates an eternity of animal cruelty with a stunning vision.
