The Big Lebowski: Dude, Where's My Dude?

In one of the Coen Brother's more successful pieces of work, Jeff Bridges plays a pothead bowler, Jeff Lebowski, aka THE DUDE, who gets mistaken for an egregious philanthropist, with a slew of kidnappers, mobsters, and women along the way. The film is not the clearest in regards to plot or central theme but the interweaving storylines, likeable characters, and the renewed sense of joie de vivre that most of the Coen's films make it a classic in its own right. If I had to classify it by its bold nature, I would refer to the engaging characteristics of the actors and the way the story takes on an almost murder mystery persona, with the mistaken identities and flare for drama.

Critically, the film was not a success and it is not that surprising to me. The Big Lebowski is somewhat of a maze with all the plot points and personalities. Some of the characters are not likeable or can be connected to the crowd so the audiences have the right to not appreciate it at first glance. However, watching the film again and again, I pick up more about the story than I previously thought. The protagonist we are given through Bridges' performance is that of a naive and dopey deer, but that is what makes him so great. This man is thrown into a world unbeknownst to him and has to face the consequences of his mistaken identity. 

Like other cult classics, such as Rocky Horror Picture Show or John Waters' series of films, The Big Lebowski approaches things within ourselves that we would normally not want to accept or ideas we would not normally think about. It throws us out of our comfort zones and into the Coen Brothers' crazy imaginations as auteurs and filmmakers. The movie does not follow the rules or constructs that film should but that makes it endearing and gains the status of cult classic that so many people cherish it to be.  All in all, the film serves its purpose as another one of the brothers perfectly crafted flawed films that only has heightened their status as brilliant filmmakers who continue to bring unreasonable stories into the forefront of our minds. 

The Hudsucker Proxy: Coen Brothers' Creativity

The Coen Brothers are world-renowned for their approach to make serious and hard-hitting topics into screwball or simplistic formats. Their films all have some stylistic component within them that lends a hand to the comedic part that lays inside of the brother duo. In The Hudsucker Proxy, the filmmakers take a story about a young business-school graduate and his involvement in a huge stock scam, and turn it into a foreground for their comedic roots to take hold.

Although this film stands to be one of their less artistically sound or impacting pieces, the movie creates some artistic boundaries for itself. The movement between scenes and development of certain emotions within a frame of view is beautifully illustrated. There were concessions made on the film’s behalf though and it lessened the appeal the film had on the audience, as one of the pair’s less successful works. In comparison to Fargo, with its appeal and more serious undertones, and the strange and radical nature of Barton Fink, The Hudsucker Proxy presents various motifs of film genre and does differ from most of the films the Coen Brothers have made.

In regards to the actual direction of the film, the art direction and the dialogue aid in making the film seem more clever than it really is. With a story of corporate deceit and social climbing, the Coen’s use worn out storyline and try to renew its purpose. Borrowing parts from Capra or other comedic directors of that time, the movie serves more like a collage of spare parts than a cohesive and artistically in tune piece of cinematic genius. The Coen Brothers so rarely make mistakes in their films but there is always room for error at the top. For the one bad film they make, the brothers redeem themselves ten times over with their succeeding works. 

One Flew Over The Cuckoo's Nest: In Too Deep?

When Forman approached this film, he maintained a constant enthrallment into the characters, setting, and psychosocial behavior that was created within the framework of the story. The film is based on a novel that surrounds the character of Randle McMurphy and his struggles to remain sane inside the tight confined walls of an Oregon mental institution, and at the hands of a tight-fisted Nurse Ratched. Filmmakers all have different approaches to the techniques of the film and Forman along with his team threw themselves into the trenches but studying and observing what it was like for the clinically insane on the inside.

In doing so, and similar to that of method acting, what the director does is gain knowledge and understanding of a subject matter that seems insurmountably confusing to most and approaches it with open arms. By doing this, Forman and his crew build a bridge between the story line, the subject matter, and the audience who is watching and observing the characters within those scenes. Taking the time and effort to research is what made the film so brilliant in the first place.

It is not just an estimation of the character’s true psychosocial abilities or the emotions that the sterile walls evoke. The filmmakers use their knowledge to make a perfectly crafted and stylized piece of cinematic material. Although some actors follow the form of method acting, others stick to the script and direction from their producers. It might not be expected of the actors to do the exact same things that Forman and his crew did, but it makes the film that much better if the words coming out of Jack Nicholson and Danny Devito’s mouths had some kind of truth or understanding behind them, rather than a blatant disregard for some simple script they had to memorize. 

Rio Bravo: A Piece of the Western Genre

In Rio Bravo, we become thrown into a world of cowboys, saloons, and gun slinging within the first breath taken. To sum up the film, the wonderfully crafted John Wayne character, John T. Chance, faces the entire plotline attempting to keep a serial killer in jail, and faces collisions with other characters when going against them who are more than willing to spring him out of jail and kill John Wayne and his companions in the process.

With the film being placed in the West, as a traditional Western genre film, the landscape is a main component of almost every scene that takes place in the great outdoors.  Even in the close-up shots, we are guaranteed to see the mountains or the terrain in the background and foreground of the shot.  The noble sheriff is accompanied by Stumpy, one of the quirky characters that most films have.  Everything a western should have, this film has and in mass proportions.

Contrastingly so, some of the themes or conventions that are atypical Western stereotypes are not in Rio Bravo.  John Chance is not a nomadic wanderer and he has no explicitly stated past in regards to crime. Also, while there was certainly an obvious female character, she is not a typical damsel in distress.  Actually, Feathers tries to assist Chance, although it is much to his dismay and unnecessary in his eyes.  Finally, in the place of lonely farmhouses and outhouses in the terrain, the entire scale of the film is set in a relatively crowded town and a dancehall.

Even though it might not be the quintessential and perfectly idealized western, Rio Bravo comes pretty damn close. John Wayne stars which instantly boosts up the Western street credibility, and there are saloons, long drawn out scenes, and a dance hall girl to play opposite the cowboy. It seems like a Western to me. Hawks might not have directed the perfect western but it was enough for someone like me.

Mon Oncle: Tati as a Filmmaker

Tati as a filmmaker is about as consistent as a goldfish, but it works for his stylistic approach. He is meticulous but all over the place, and overwhelmingly so. This attention to detail and obsessive nature makes the film so perfectly crafted. Stylistically, Jacques Tati can be described to use experimental approach to film making. With his use of little audible dialogue, and instead building the film around elaborate, tightly choreographed visual gags and carefully integrated sound effects, Tati’s perfectionist tendencies make him a master of the art of cinema.

The film centers on the socially awkward yet lovable character of Monsieur Hulot and his struggle with postwar France's infatuation with modern architecture, mechanical efficiency and American-style consumerism. While doing research, I learned that with most Tati films, Mon Oncle is largely a visual comedy; color and lighting are employed to help tell the story.  We as the audience can tell that the dialogue in Mon Oncle is barely audible, and largely inferior to the role of a sound effect. Consequently, most of the conversations are not subtitled. Instead, the drifting noises of heated arguments and banter complement the other sounds and physical movements of the characters, intensifying comedic effect.

In regards to the film’s theme, I would have to say that the central message of the film relies on the Hulot’s appreciation of the little things in life and the affects those minor details had on him.  Most filmmakers of Tati’s genre of comedy would find that to be blasé, especially for an entire feature film, Tati used his attention to every single detail to create a storyline from mere “simple things.”  It might not be necessary to others but if this film lacked all the details that Tati employed in the picture, Mon Oncle would be a lackluster and meaningless piece of cinematic garbage. 

Sherman's March: Charismatic or Just a Facade?

McElwee initially planned to make a film about the effects of General William Sherman’s march through Georgia and the Carolinas during the Civil War. The actual footage in the documentary was prompted by a traumatic breakup McElwee experienced prior to filming, which made it very difficult for him to separate personal and professional concerns. This shifted the focus of the film entirely creating a more singular and personal narrative about the women, love, romance, and religion in his life. McElwee is not a typically good-looking or Casanova-esque ideal male character, but his honest nature and underdog appeal carry his film throughout its simply organized framework. In regards to its structure, the film follows a repetitive narrative pattern. To explain, he becomes infatuated with various women, developing feelings for each of the subjects, only to have his own romantic hopes crushed in the process.

If these are grounds for a successful, well-crafted, and interesting documentary, then I believe anyone is capable of being a documentary filmmaker. I have an interesting life and a job and romance, in my opinion, so I would watch a film about my life. But what makes others want to watch? What made people want to watch a film on an obscure filmmaker and his exploits? McElwee is a man’s man; he is a normal guy with normal problems.

The audience can relate to him and this draws a connection between the film and the people watching. McElwee is successful with his film because he is a believable character, contrastingly so to that of Banksy, who is questioned for his own integrity. We get to know McElwee's hopes, concerns, and nightmares. The audience gets to take a seat behind the camera side-by-side with McElwee as he tries to forge new relationships and to revisit important relationships. McElwee's approach in the film is simultaneously revealing and somewhat mysterious. He is open and candid to the point where it is unnerving but the more the film develops, the more the audience becomes aware that there are many aspects of the relationships he is filming that they are not privy to. We cannot help but wonder about the narrator and question who he really is. That is what makes his film and style so charismatic and successful. 

Exit Through The Gift Shop-Believe it or Not?

In the ever-mysterious Banksy’s Exit Through The Gift Shop, the “filmmaker” tells the story of Thierry Guetta, an immigrant in Los Angeles and his obsession with street art. The “film” charts Guetta's constant documenting of every waking moment on film, from a chance encounter with his cousin, to his introduction to a host of street artists with a focus on Shepard Fairey. Banksy, whose anonymity is preserved by obscuring his face and altering his voice, ironically leads to Guetta's eventual fame as a street artist himself.  With most documentaries the viewing public watches, there is always going to be manipulation or deception of truth.  Regardless if it is done unintentionally, there is some manipulation of the truth simply because it's from a biased point of view and not an objective third party.  I personally do not feel that Banksy deliberately sought to create a film reliant on deception, as most people would love to believe.  Of course, there was some manipulation. 

 In one example, the last parts of the film showed Mr. Brainwash in a not so favorable situation, thus deceiving him.  While he was being interviewed on his rise to fame, he probably was under the impression that he was going to be shown in a positive light.  This was no falsehood or lapse in judgment on Banksy's part.  He knew exactly what he was doing, and purposefully manipulated Mr. Brainwash to show everyone what a real sell-out is.  Banksy’s intentions with Exit Through the Gift Shop shed light on a difference between true street artists such as the ones shot by Mr. Brainwash, or contrastingly, the sell-outs who make pop art with the influences of street style.  Audiences will always be skeptical of anything they watch, but in my own opinion, I trust this film. Even if Banksy deliberately manipulated Brainwash, there was no manipulation of footage and interviews, in most cases throughout.