| This depression era period piece is simply a delight. The music is wonderful; the fanciful, on the road story of lovable escaped convict country bumpkins, who pratfall their way through numerous scrapes invites hilarity; and the beautifully dove-tailed script by the Coen brothers is marvelous.That script was nominated for the Oscar for Best Screenplay based on material from another medium for 2001, but didn't win. Stephen Gaghan won for Traffic. But never mind. The writing is just so clever and that is part of what makes this movie so much fun to watch.That won't surprise viewers <more> who are familiar with the work of Ethan and Joel Coen. Those guys are strikingly original talents who can write comedy and noir with the best of them as in, e.g., Raising Arizona 1987 , Blood Simple 1984 --their first, and in some ways, their best--and of course Fargo 1996 . Their work is characterized by irony, satirical intent, and sly plotting in which later events are foreshadowed by previous events. O, Brother, Where Art Thou? is especially replete with clever foreshadowing. Characters appear, as they are wont to do in road movies or epic wanderings, and then they are left behind as our heroes move on. Here however, the first appearance of a character is probably not the last appearance. When John Goodman first appears as a morally and ethnically-challenged Bible salesman who welds a mean stick, we may think he is gone, but I'll keep this vague when he reappears we are not surprised; in fact his reappearance is just right.One of the highlights is George Clooney as Ulysses Everett McGill whose sweet-smelling Dapper Dan hair pomade plays a bit of a role in the plot. He is perfect as a slick-talking, hairnet-wearing country wordsmith who could charm the birds out of the trees. With the slicked-back hair and the thin moustache, he reminded me a bit of Clark Gable, which is only right since Gable was a thirties film star whose style was much imitated.Clooney is supported by John Turturro, who has played in at least two other Coen and Coen movies that I have seen. He is one of those non-glamorous actors who is at the top of the profession. It may seem a bit of a casting stretch to play him as a Mississippi bumpkin, but he pulls it off. This is the same guy who was just perfect as a New York Jewish writer gone to Hollywood in Coen and Coen's Barton Fink 1991 .This is the first time I've seen Tim Blake Nelson, but he was also very good as the third country musketeer. As usual the alluring Holly Hunter gives a solid performance as Everett's estranged wife about to marry another man, the mother of his six daughters. But make no mistake about it, Clooney clearly steals the show, and I am surprised he wasn't nominated for Best Actor. He was really that good. He did win a Golden Globe award. And the music: country, bluegrass, hillbilly, gospel, traditional--and I know not what else--is really at the heart of the flick. When the "Soggy Bottom Boys" come on with their "I Am a Man of Constant Sorrow" it really brings the house down. The Coens know this, and so later in the movie when the boys appear on stage, looking a little like ZZTop on a budget, they reprise it to the delight of the Mississippi folk at a political rally and really get the joint to jumping--and of course it all figures in the plot. And how appropriate is that lyric for a depression era song: "I Am a Man of Constant Sorrow"! See this for both the Coen Brothers who know how to have fun with a movie, and for George Clooney, who puts on a mighty good show. Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon! <less> |
