January 4, 2011 18 Comments
I am not one for hyperbole, especially when it comes to my assessment of films. I won’t write it if I don’t fully believe in what it is I am pontificating. That said, as I was walking out of the move theater this weekend to see the remake of True Grit, I couldn’t help but ask myself, “Are there any better American filmmakers working today than Joel and Ethan Coen?” I am of course aware of heavyweights such as Coppola, Scorsese, Lynch, Eastwood, and Spielberg (to name a few), but since their impressive debut in 1984 with Blood Simple, all they have done is repeatedly churn out stylized, profound and highly entertaining works on a consistent basis that is quite uncanny. I am sure the most ardent of Coen Brothers fans can even excuse the much more commercially targeted Intolerable Cruelty, as I do. The only other director who I see as coming close to this ridiculously high batting average is the brilliant P.T. Anderson, but I will reserve judgment until he builds more of a resume. True Grit marks the 15th feature film for Joel and Ethan Coen and it surely did not disappoint. More on that terrific film in a later post. First, since coming to the realization of where the Coen Brothers stand at present, I thought I’d celebrate this earth-shattering epiphany with what I view their Top 5 films to be. With so many good ones, this was pretty tough to put in order. Also, if you can think of another director who releases one brilliant work after another for as long as they have, I would love to hear it!
This slot could have easily been reserved for Blood Simple, No Country for Old Men or even their latest, True Grit. But I was so taken aback with this oeuvre (rightly deserving of its Oscar nom for ‘Best Picture’) for its tremendous profundity, dark wit, and waters yet unchartered by the master filmmakers. To me, this is their most personal, most mature work to date. Michael Stuhlbarg plays Larry Gopnik, a Midwestern professor of mathematics who is used to solving formulas and equations with ease. But he is left helpless when, bit by bit, coincidental events take hold of his life which is slipping through his fingers. Stuhlbarg was robbed of a ‘Best Actor’ Oscar nomination and his work here is extraordinary. Richard Kind plays his brother, Uncle Arthur and brings a great deal of empathy to the role. Fred Melamed is a joy to watch as Sy – the man who steals Larry’s wife away from him. The screenplay is taut and insightful, the mood, ominous throughout. Again, the Coen Brothers don’t serve up all the answers for you on a silver platter – they challenge their audience, letting you solve the puzzle on your own. I was glad to see the filmmakers tackle on such issues as God, faith, the Jewish religion, fate and karma in such a forward manner. This film is unlike any other they have ever done –a bold project to be sure, though the Coen Brothers never seem to shy away from new challenges and new frontiers. A small gem of a film that stays with you long after the end credits roll.
4. The Big Lebowski (1998)
I’m not sure what to say here except when I first saw the film, I never would have guessed the enormous cult following and staying power that this ridiculous comedy would endure. Like most Coen Brothers films, this one gets better with additional viewings. Many of their dramas have a lot of comedic elements and humorous nuances, but this one (like the very funny Raising Arizona), is straight up funny, bordering on the farcical. With “The Dude,” Jeff Bridges creates a character that will surely go down as one of the most comical in film history. Bridges makes it all look so effortless, but don’t let that fool you into thinking it’s not a brilliant performance. Like his Almighty rug, this Dude ties the movie together. John Goodman is loud, maniacal, and uproarious. Julianne Moore, Steve Buscemi, Philip Seymour Hoffman add more laughs – and John Turturro, with about 5 minutes of screen time, steals the show as The Jesus, the master bowler who will fuck you any day of the week. I also love Sam Elliott as The Stranger, the film’s narrator…perfect voice for it. The pacing of the film in non-stop and it’s one absurd incident after another, one insane line after the next. You sit back, and go along for the ride. It is pure Coen Brothers comedy – and there was no way I could omit it from this prestigious Top 5.
3. Fargo (1996)
I vividly recall the late Gene Siskel and Roger Ebert proclaiming this to be their #1 film of 1996, stating that this was the reason they went to the movies – that this was one of the finest American films to be released in that decade. Though the Coen Brothers were already critical darlings for a few years, this one seemed to put them over the top, garnering a number of Oscar noms, while taking home two. One of the many things that the Coen Brothers are brilliant at is giving the viewer a sense of time and place. Fargo is the perfect example of this. As a wanna-be writer, I would love to be a fly on the wall to study and see how the two writers go through the process of writing their scripts because their framework and dialogue is so masterful. The script here is what every writer should strive for, capturing the characters and their regional vernacular so exquisitely. The film is bloody, dark, funny, and at times, quite touching. The score also plays a pivotal role (which is true of just about any of their films) and depicts the mood perfectly. The unbelievably talented Frances McDormand shines here as Marge Gunderson, the pregnant police officer. But it is William H. Macy’s incompetent car salesman that sets the wheels in motion. Everything falls apart for poor Jerry Lundegaard and so many others pay the heavy consequences. In many ways, the film remind’s me of David Lynch’s 1986 masterpiece, Blue Velvet – exploring the dark and violent side of suburban America. An outstanding piece of filmmaking — considered by most critics to be their signature work and has already gone down as one of the finest films ever made.
2. Miller’s Crossing (1990)
When I think of finest screenplays written, I always think of this masterful mobster flick. The dialogue cracks, sizzles and keeps coming at you at a fever pitch – so authentic to the prohibition era that it is set in – and oh so very smart (“take your flunky and dangle”). As is the case with all of their films, the Coen Brothers get wonderful performances from their impressive ensemble that includes Albert Finney, Marcia Gay Harden, Jon Polito (again), and J.E. Freeman. Gabriel Byrne is perfectly cast and the wise-cracking poetry just oozes from his lips like honey. As the film’s nucleus, Byrne holds it all together – he is strong, witty and merciful. And it should be to no one’s surprise that John Turturro as Bernie Bernbaum rocks the house. It constantly amazes me how much Turturro adds to the supporting roles he plays (see Film #4). The climatic scene where Byrne’s Tom Reagan takes Turturro out to the middle of the woods (Miller’s Crossing) to shoot him dead is riveting and always has me on the edge of my seat. It is wonderful work and Turturro doesn’t hold back one tiny bit. One of their more violent films, Miller’s Crossing is beautifully shot and the costume design and art direction are without flaws. It also keeps you on your toes – who is double-crossing who? Who is working for who? Who is going to get rubbed out next? I know we all think of The Godfather trilogy and Goodfellas when we think of cinema’s greatest mobster flicks, but this deserves to be strongly placed in the Top 5. And that, my friends, is the rumpus!
1. Barton Fink (1991)
This one is a no-brainer for me. This haunting (oftentimes funny) film has always fascinated and entertained me, while never losing tread on the wheels with many repeat viewings. In fact, I seem to catch something new each time. John Turturro, one of our most underrated actors, takes the lead here as a New York playwright who suddenly becomes the toast of Broadway. The lure of Hollywood success and money reels him in and Barton now finds himself in a hellish west coast hotel writing a motion picture about a wrestler. John Goodman is brilliant as his ominous neighbor, Charlie Meadows. Turturro is mesmerizing as the often-troubled intellectual writer and his chemistry with Goodman is ever-engaging. Michael Lerner, John Mahoney, Judy Davis and Jon Polito turn in outstanding performances as well. The film is filled with quirky characters and dialogue that have become standard fare in most of the Coen Brothers’ works. No strangers to period pieces, the Coens beautifully capture the look and feel of 1941. Exquisite art direction, a haunting score and superb cinematography – the film never caves in and gives you all the answers. It challenges its audience and forces you to figure it out, which I admire and appreciate. Not a movie for those who don’t embrace and appreciate the voice of the Coens’, to be sure. But a brilliant film — perhaps their closest to a masterpiece yet. Then again, perhaps it is.
In my estimation, these are some of the finest films made in the past 25 years — and they don’t show any signs of slowing down or fading out. The Coen Brothers are master storytellers who seem to do just about everything right — and to this one film buff, have no equal in the industry at present.