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In this film, we are introduced to a very unlikely cadre of friends and acquaintances who represent, again, caricatures of particular parts of ourselves. There is a juxtaposition of complex and surreal events, kidnappings, death threats, drugged drinks and hallucinatory dreams, porn-stars and pedophiles, the rich and poor, the violent and the meek, and it all combines to make a truly engaging mosaic -- just as all of the other films here have done. As Dude interacts with his world, just as Marge, H.I. And Everett do, he does so with a purpose that is reflective of his personal nature -- he is a semi-competent actor in his own life but is highly successful at surviving whatever is thrown at or to him. This is the strongest of the Coen consistencies. But, a moral theme is only part of what makes a Coen film theirs. Immersion in semi-fantastic but wholly familiar environments, filling characters mouths with deep and meaningful but often overly simplified thoughts, and very complicated lives. They are dedicated to creating an absolutely controlled world in which their parables of good and evil are played out amongst very mortal people. Each succeeds in giving us compelling characters that make us simultaneously think about our lives and enjoy the ride.
O Brother, Where Art Thou? Homer in Hollywood: The Coen Brothers' O Brother, Where Art Thou? Could a Hollywood filmmaker adapt Homer's Odyssey for the screen in the same way that James Joyce did for the Modernist novel? The idea of a high-art film adaptation of the Odyssey is actually at the center of the plot of Jean-Luc Godard's 1963 film Contempt, and the Alberto Moravia novel on which Godard's film is
O Brother Where Art Thou Heroes have always been celebrated in mythology, literature and films as men of great courage and daredevilry. By very definition, therefore, a hero has to necessarily be sent off on a quest to achieve some goal and encounter all kinds of danger, adventure and obstacles on his way. Being endowed with extraordinary qualities, a hero is naturally the central personage in any story, irrespective of the
O Brother, Where Art Thou? -- The Film Famed filmmaking brothers Joel and Ethan Coen wrote and directed O Brother, Where Art Thou? The film was released shortly before Christmas of the year 2000. The film is a sort of remix and remake. The premise of the film was a take on the epic poem "The Odyssey" by Homer and set the narrative in the deep American south during the 1930s.
Western Film The Coen Brothers’ (2010) film True Grit is an adaptation of the novel by the same name and contrasts sharply with the films of the same genre from the 1940s and 1950s. Save for John Ford’s Westerns, like The Searchers, which had a bit of realism mixed in with the sentimentality, there is not much comparison worth noting. The Coen Brothers created a film that is true to the
Miller's Crossing gives the best example of the "ethics" of the crime film genre -- beginning as it does with the classic speech delivered by Giovanni Gasparo: "I'm talkin' about friendship -- I'm talkin' about character -- I'm talkin' about -- hell, Leo, I ain't embarrassed to use the word: I'm talkin' about ethics…" The film, of course, is full of characters whose actions are shady and unethical -- but
Marjoun and the Flying Headscarf filmmaker Susan Yousseff presents the self and subjectivity of Marjoun, a young Muslim woman and daughter of immigrants. I will speak of Marjoun as though she were a case scenario. Marjoun in depicting her own self as the protagonist is dependent upon the headscarf of the film's title, a hijab which she insists on wearing even indoors (to her mother's derision) and which becomes a