The Ballad of Buster Scruggs (2018)

Most Westerns are set in the 19th century, at a time when the United States was aggressively expansionist within its continent, and settlers were pushing the boundaries of the territory towards the western coast. The Coen Brothers treat this history as fodder for a number of stories in this Netflix-originated anthology, some of which focus on the comic side of the genre, but others delve into something more primal.


Until I saw True Grit (2010), I didn’t have a particularly high opinion of the films of the Coen brothers. I know it seems heretical (and, sure, I found The Big Lebowski enjoyable), but I thought they were essentially charlatans and made arch, bitter films about people they considered themselves superior to — or so it seemed to me up until that point. There are parts of this anthology which I think hark back to that, so maybe the hardcore will be pleased; it’s a pretty thorough mixture of impish comic touches (Stephen Root prancing about shouting “pan shot!” is a highlight), character portraits (like Tom Waits’ solitary gold prospector), brutal violence and nastiness (the story with Liam Neeson particularly callously so). Pretty much every story ends up with one of the characters dying (not always the one you expect), and while some of them the film treats as pretty funny, others are laden with pathos. My favourite story is probably Zoe Kazan on the Oregon Trail (“The Gal Who Got Rattled”), and even if the way it ends does seem particularly indebted to a certain spirit of male-centred alienation, heartbreak and loss, it at least seems to be dealing with a character arc rather than a punchline.

The Ballad of Buster Scruggs film posterCREDITS
Directors/Writers Joel Coen and Ethan Coen (based partly on the novels All Gold Canyon by Jack London, and The Girl Who Got Rattled by Stewart Edward White); Cinematographer Bruno Delbonnel; Starring Tim Blake Nelson, James Franco, Stephen Root, Liam Neeson, Tom Waits, Zoe Kazan, Brendan Gleeson; Length 133 minutes.
Seen at Curzon Bloomsbury, London, Saturday 24 November 2018.

O Brother, Where Art Thou? (2000)


FILM REVIEW || Director Joel Coen | Writers Joel Coen and Ethan Coen (based on the epic poem The Odyssey by Homer) | Cinematographer Roger Deakins | Starring George Clooney, John Turturro, Tim Blake Nelson, John Goodman | Length 108 minutes | Seen at Rialto, Wellington, Friday 4 May 2001 (and at holiday apartment in Rovinj on TV, Saturday 1 June 2013) || My Rating 3 stars good


© United International Pictures

At their worst, the Coen Brothers can come across as dilettantish, with an air of superiority to their characters (who often seem little more than caricatures), and it would surely be possible to argue that they’ve shown this hand in O Brother. They’ve certainly marshalled a whole host of period references to the 1930s into a comic book confection to little lasting effect. And yet I have a warmth of feeling towards this film that derives primarily from the music, not to mention the gorgeous widescreen Cinemascope photography and the easy affability of George Clooney as a lead actor. I don’t think any of this makes the film less shallow, but it does make me more fondly disposed towards it.

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