Hail, Caesar! (2016)

I’ve been on holiday for much of March, hence not posting so much, but I found the time to go and see the latest Coen brothers film twice in that time. Partly this is because since seeing their last film, Inside Llewyn Davis (2013), I’ve found something new to enjoy and celebrate in their work — an attitude not based on snide self-congratulatory archness, or so it feels to me (perhaps unfairly). However, I went to see it a second time also because the critical response — and my own initial reaction — feels so much like it misses the point of this latest work. Yes, the pacing seems initially quite odd — it has a slowly unfolding stiltedness that treads heavily somewhat like the prestige Hollywood pictures of the 1950s which it pastiches — and yes it’s a light and warm-hearted embrace of the era, but neither is surely a bad thing. In fact, it’s almost a release after the dour depression of Llewyn, but it’s not shallow. There’s a significant subplot that burrows into the contortions Hollywood found itself in during the McCarthy period, as his House Un-American Activities Committee investigated Communist sympathies within the industry. Even if leading man Baird (George Clooney) confronts a cabal of screenwriters (“The Future”), who have kidnapped him for possibly nefarious reasons, with a genial good humour, their presence is still given a voice, and not even a mocking one at that (Marxist theorist Herbert Marcuse pops up at one point). It also has a great line in fabulous supporting performances (Josh Brolin is the lead as studio boss Eddie), whether Tilda Swinton’s gossip columnist sisters, Channing Tatum’s Gene Kelly-like tap dancing showman, Ralph Fiennes’ director or, perhaps best of all, Alden Ehrenreich’s singing cowboy Hobie. It’s sweet, and for the Coens it’s played fairly straight, and it’s all the better for that.

Hail, Caesar! film posterCREDITS
Directors/Writers Joel Coen and Ethan Coen; Cinematographer Roger Deakins; Starring Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Tilda Swinton, Channing Tatum; Length 106 minutes.
Seen at ICA, London, Tuesday 8 March 2016, and at Embassy, Wellington, Thursday 17 March 2016.

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Inside Llewyn Davis (2013)


NEW RELEASE FILM REVIEW || Directors/Writers Joel Coen and Ethan Coen | Cinematographer Bruno Delbonnel | Starring Oscar Isaac, Carey Mulligan, John Goodman, Justin Timberlake | Length 105 minutes | Seen at Cineworld Haymarket, London, Sunday 9 February 2014 || My Rating 4.5 stars a must-see


© StudioCanal

The thing about Llewyn is, he’s a bit of dick, to put it plainly. Over the course of the film we come to have a little understanding about why this is, and the structure of the film even gives us a little chance to revisit that initial assessment at the end. He’s not a dick like Jordan Belfort in The Wolf of Wall Street — he’s not hateful at a fundamental level — but he’s a man in need of some social graces. So, starting with a vaguely obnoxious character in an iconic American setting (Greenwich Village in the early-60s), the new Coen brothers movie has crafted a story of quite considerable pathos which has already attracted plenty of impassioned online essays, itself always a good sign.

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