The Zero Theorem

Directed by Terry Gilliam and written by Pat Rushin, The Zero Theorem is the story of a reclusive computer genius who tries to see if there’s any meaning to life through a formula where he endures a series of surreal misadventures. The film is a dystopian film of sorts set in the future as it recalls many of Gilliam’s films from the past while going into a man dealing with his own identity and his place in the world. Starring Christoph Waltz, Melanie Thierry, Lucas Hedges, Tilda Swinton, David Thewlis, and Matt Damon as the Management. The Zero Theorem is a dazzling yet whimsical film from Terry Gilliam.

Set in a futuristic world, the film explores the troubled life of an eccentric computer programmer whose job is to find the meaning of life through a theory as he ponders about his own existence where he encounters a series of oddball characters during his journey. Yet, it all plays into this programmer who is also very reclusive as he await a phone call that he thinks could have some meaning. During his time in his home where he works continuously to find answers, Qohen Leth (Christoph Waltz) deals with his own loneliness as he often refers to himself as “we” where he starts to fall for a young woman in Bainsley (Melanie Thierry) as well as gain the aid of his boss’ son Bob (Lucas Hedges) where they would get him to showcase a world outside of his work and obsession to find answers.

Pat Rushin’s screenplay does create some unique ideas about existentialism as well as faith where Qohen is a man who seeks answers that are beyond the world he works for as he often crunch numbers to see if there are any answers. Qohen is a man that often dreams about being sucked into a black hole in his feeling that there’s nothing in the world as he is asked by the mysterious known as Management to find these impossible answers. Qohen takes the job because he has nothing to live for where his meetings with Management would be very strange. While he spends a year working to prove this theory in his home, he rarely has human contacts where the odd visits he receives from Bob, Bainsley, and his supervisor Joby (David Thewlis) would be very strange. Even as he learns what Bainsley does as it would complicate things as she would be the one person who shows him that there’s more to life than nothingness.

Terry Gilliam’s direction is quite extravagant in some ways in not just the world that Qohen lives but also the idea of dystopia where it’s more offbeat rather than oppressive. Yet, it does have some satirical comedy about the way technology drives the world such as a party scene where everyone is holding tablets rather than communicate with words. Gilliam’s direction has him utilizing not just close-ups and medium shots but these intricate crane shots to play into Qohen’s sense of loneliness. Especially as he rarely goes outside as he prefers to stay home to await a phone call where there’s an intimacy that Gilliam creates. The artificial world that Qohen would encounter would display his own lack of humanity and struggles along with the idea of what it could be once the fear is gone. Overall, Gilliam creates a very sensational yet compelling film about a man seeking answers in a very troubled world.

Cinematographer Nicola Pecorini does excellent work with the many of the film‘s stylized interior lighting schemes for the party scenes and the main base of where Qohen works at plus an offbeat look to some of the film‘s exterior settings. Editor Mick Audsley does fantastic work with the editing with its rhythmic approach to play into the film‘s humor as well as in some of the dramatic moments. Production designer David Warren, with art director Adrian Curelea and set decorators Jille Azis and Gina Stancu, does amazing work with the set design from the home that Qohen lives in to the look of the city and the place where Qohen works at. Costume designer Carlo Poggioli does brilliant work with the stylized costumes that includes some of the camouflage suits that Management wears in his surroundings as well as the clothes that Bainsley wears.

Hair/makeup designer Kristin Chalmers does terrific work with the hairstyle that Qohen would wear in his fantasy as well as the wig that Bainsley wears in one of her visits. Visual effects supervisors Felix Lepadatu, Jonah Loop, and Fredrik Nord do superb work with the visual effects where it is minimal in some respects from the fantasy world that Qohen and Bainsley live in to the image of the black hole. Sound designer Andre Jacquemin does nice work with the sound work from the sound effects of the cameras that are watching Qohen to the scenes that occur that play into Qohen‘s troubled state of mind. The film’s music by George Fenton is wonderful for its mixture of eerie orchestral music with some offbeat electronic music with the soundtrack featuring electronic dance music and a jazz cover of Radiohead’s Creep.

The casting by Irene Lamb is incredible as it features an array of offbeat cameos from Gwendoline Christie, Ray Cooper, Lily Cole, and Rupert Friend as people seen on commercials, Sanjeev Bhaskar, Peter Stormare, and Ben Whishaw as a trio of oddball doctors, and Robin Williams in an un-credited appearance as televangelist. Other notable small roles include Emil Hostana and Pavlic Nemes as a couple of clones, Dana Rogoz as a sexy pizza girl, and Tilda Swinton in a very hilarious performance as Dr. Shrink-Rom as an artificial shrink who can bust some mad rhymes. Matt Damon is excellent in a small but very memorable performance as the boss known as Management as he appears in the oddest circumstances as it’s Damon playing it very straight.

David Thewlis is amazing as the supervisor Joby who tries to get Qohen to be more outgoing while also being a friend of sorts as he tries to prepare Qohen for what he will endure. Lucas Hedges is fantastic as Bob as this whiz-kid who helps Qohen in uncovering the theory as well as dealing with Qohen’s reclusive behavior. Melanie Thierry is brilliant as Bainsley as this mysterious young woman who meets Qohen at a party as she is intrigued by his personality while getting him to be more open as she would fall for him. Finally, there’s Christoph Waltz in a remarkable performance as Qohen Leth as this very reclusive man who deals with his own existence as well as faith as he tries to uncover a mystery as it’s a performance that features Waltz at his most vulnerable as well as his restrained approach to humor.

The Zero Theorem is an extraordinarily fun and exhilarating film from Terry Gilliam. Armed with a great cast led by Christoph Waltz as well as some amazing technical work and some compelling themes on faith and existentialism. The film is definitely one of Gilliam’s finest works as it proves that he still has a few tricks up his sleeve. In the end, The Zero Theorem is a marvelous film from Terry Gilliam.

Terry Gilliam Films: Jabberwocky - Time Bandits - Brazil - The Adventures of Baron Munchausen - The Fisher King - 12 Monkeys - Fear & Loathing in Las Vegas - The Brothers Grimm - Tideland - The Imaginarium of Dr. Parnassus

The Auteurs #38: Terry Gilliam

© thevoid99 2014

22 Jump Street

Based on the TV show 21 Jump Street, 22 Jump Street is the story where two cops go to college to find the supplier who had been creating new drugs that has been circulating into the world of college. Directed by Phil Lord and Chris Miller and screenplay by Michael Bacall, Oren Uziel, and Rodney Rothman from a story by Bacall and Jonah Hill. The film is a spoof of sorts on sequels where characters of the first film do the same thing for the second film set in college as Jonah Hill and Channing Tatum reprise their roles as Morton Schmidt and Greg Jenko who deal with their friendship. Also starring Amber Stevens, Peter Stormare, Nick Offerman, Rob Riggle, Dave Franco, and Ice Cube as Captain Dickson. 22 Jump Street is a witty yet off-the-wall film from Phil Lord and Chris Miller.

The film is essentially a re-hash of sorts of the first film where Schmidt and Jenko have to go undercover and pretend to be college students so they can the dealers and suppliers of a new drug that is about to become big in college campuses. Along the way, Schmidt and Jenko endure challenges that would separate them while they also deal with new enemies and secrets that come into play during their investigation. It’s a film that definitely takes the same storyline, plot-points, and such of the first film but makes it aware that it is a re-hash where there’s elements of the fourth-wall being broken as the characters often talking about budgets and doing the same thing all over again. The film’s screenplay isn’t afraid to comment on doing things all over again while there’s a lot more hilarity that goes on as well as suggestions that Schmidt and Jenko’s friendship is so much more. Notably as those that Schmidt and Jenko surround themselves would tell one person that the other is dragging him down.

Phil Lord and Chris Miller’s direction definitely plays into the same style as the first but with bigger set pieces, action sequences, and all sorts of things where it knows that it is making fun of itself. The compositions are quite simple at times but also stylish as it plays to Jenko’s ability to do parkour and such while Schmidt would try to do that as well. Another hilarious sequence is another take on the two getting high on drugs where both Schmidt and Jenko each get a different reaction. There’s also sequences where Lord and Miller play up the bro-mance between Schmidt and Jenko as it does have this chaotic sense of style that is a play on the cinematic style of Michael Bay.

The action sequences are over the top as much of it is shot in New Orleans while its climatic showdown is shot in Puerto Rico as it is this very wild take on spring break. While the results is obvious predictable, it is followed by a closing credits sequence that not only breaks down the fourth wall but also in the idea of what is to come in all sorts of genres and such. Overall, Lord and Miller create a very smart and extremely funny film about two guys pretending to be college kids to bust up some drug dealers, have a good time, and be aware that they’re doing the same thing all over again.

Cinematographer Barry Peterson does excellent work with the cinematography in terms of the vibrant exterior colors of the locations in its interior and exterior settings. Editors David Rennie and Keith Brachmann do fantastic work with the editing where it plays into the chaotic, speed-editing style of most action blockbusters while keeping things straightforward so that audiences can make sense of what is happening. Production designer Steve Sakland, with set decorator Tracey A. Doyle and art director Scott Plauche, does nice work with the set pieces from the frat house that Jenko gets accepted to as well as the new 22 Jump Street base that was created to showcase the bigger budget.

Costume designer Leesa Evans does terrific work with the costumes as it plays to the world of college as it‘s mostly casual. Visual effects supervisors Edwin Rivera and Peter G. Travers do amazing work with some of the visual effects that includes a hilarious scene of Schmidt and Jenko high on the new drug and the different effects it had on them. Sound editor Geoffrey G. Rubay does superb work with the sound from the sound effects of gunfire to the atmosphere of the parties. The film’s music by Mark Mothersbaugh is brilliant for its mixture of orchestral music with some electronic-based cuts while music supervisor Kier Lehman brings in a fun soundtrack that features a lot of dubstep, hip-hop, electronic music, and some songs from the 80s.

The casting by Nicole Abellera and Jeanne McCarthy is amazing as it features some notable appearances from Rob Riggle and Dave Franco reprising their roles as Mr. Walters and Eric, respectively, as well as Caroline Aaron and Joe Chrest as Schmidt’s parents, and Nick Offerman playing the role of Captain Hardy who puts Schmidt and Jenko back on the Jump Street program. Wyatt Russell is terrific as the jock Zook that Jenko befriends while Jimmy Tatro is good as Zook’s friend Rooster. The Lucas Brothers are funny as twin drug dealers who always say the same thing while Marc Evan Jackson is wonderful as the college psychiatrist who is the initial suspect as the supplier. Jillian Bell is brilliant as Mercedes who dislikes Schmidt as she is very creepy as well as being very funny. Amber Stevens is excellent as Maya as an art student Schmidt falls for as she knows about the dealer who had died as she reluctantly let Mercedes stay in her dorm room.

Peter Stormare is superb as the antagonist Ghost as this old-school drug dealer that Schmidt and Jenko try to capture as he could be connected to the new drug that is being sent out to college campuses. Ice Cube is hilarious as Captain Dickson who continues to berate Schmidt and Jenko as Cube gets more to do as it relates to a minor character in the film. Finally, there’s Jonah Hill and Channing Tatum in fantastic performances as their respective characters Schmidt and Jenko. Hill displays a lot of the sensitivity and awkwardness of Schmidt that is fun to watch while Tatum brings in that physicality and dimness to his character as the two definitely have fun in their roles while not being afraid to showcase some homoerotic overtones in their bro-mance.

22 Jump Street is an excellent film from Phil Lord and Chris Miller. Featuring a great cast and a witty approach to the idea of sequels, it is a film that isn’t afraid to play dumb while be aware that it’s rehashing everything that made the first film so successful. Especially as it isn’t afraid to give the audience what they want as well as be even sillier. In the end, 22 Jump Street is a fantastic film from Phil Lord and Chris Miller.

Phil Lord & Chris Miller Films: (Cloudy with a Chance of Meatballs) - 21 Jump Street - The Lego Movie

© thevoid99 2014

The Brothers Grimm

Directed by Terry Gilliam and written by Ehren Kruger with rewrites by Gilliam and Tony Grisoni, The Brothers Grimm is the story of how the two men who would create fairy tales when their work as con-artists have them encountering with a real-life fairy tale curse. The film is a fictional portrait of Wilhelm and Jakob Grimm with some exaggerations as they’re played respectively by Matt Damon and Heath Ledger. Also starring Lena Headey, Jonathan Pryce, Peter Stormare, and Monica Bellucci. The Brothers Grimm is an enjoyable yet messy film from Terry Gilliam.

Set in the early 19th Century in French-occupied Germany, the film is about the Brothers Grimm who are tasked to take on an ancient curse that has captured young girls in a small German town despite the fact that they’re really con-artists doing tricks for money. It’s a film that is largely fictional and exaggerated in how Wilhem and Jakob Grimm came up with the many stories that would be told for ages. Especially as it showcases these two different personalities with Wilhem being the more selfish and realistic of the brothers and Jakob as the more imaginative and helpful. Due to their antics, they reluctantly team up with the Italian torturer Mercurio Cavaldi (Peter Stormare) to deal with this curse as they also get help from the huntress Angelika (Lena Headey) whose sisters had also disappeared. Yet, what they deal with is something much more troubling as it relates to an ancient story about a queen (Monica Bellucci) whose beauty was ravaged by the plague as she seeks the blood of 12 girls to reclaim her beauty.

The film’s screenplay does have an interesting concept, along with references to the stories of the Brothers Grimm, but it’s often bogged down by lots of exposition about the ancient curse and all sorts of things that makes the story very messy. Especially in tone where it wants to be a fantasy film with humor and action but never finds a way to really mesh itself. Though it’s clear that Terry Gilliam and Tony Grisoni try to improve Ehren Kruger’s script by meshing these genres. The emphasis on exposition is a major flaw in the script though the characterization of the Brothers Grimm, Angelika, and Cavaldi do manage to make things work. Even as Cavaldi is an antagonist working for the French yet becomes fully aware that the forces that he, the Brothers Grimm, and Angelika are facing is much more troubling.

Gilliam’s direction is definitely lavish in terms of the set pieces that he creates as well as the sense of style in the compositions he creates. Notably as he manages to create some unique shots to play into the world of the Brothers Grimm as much of the production is set in the Czech Republic as 19th Century Germany. Many of the scenes that Gilliam creates is definitely playful and offbeat such as the torture room and castle that Cavaldi’s superior in General Vavarin Delatombe (Jonathan Pryce) lives in to the tower where the aging queen lives. Gilliam does infuse a lot of humor into the action along with some sequences that require some visual effects to play into that world of fantasy though not every moment with visual effects work. Still, there’s a messiness that occurs in the film as it plays to its climax where the Brothers Grimm face off against the queen which has some good moments but also some not-so-good moments. Overall, Gilliam creates a pretty enjoyable film despite some of the issues with its script and its emphasis on exposition.

Cinematographer Newton Thomas Sigel, with additional work from Nicola Percorini, does excellent work with the film‘s cinematography with its use of yellowish lighting for some of the film‘s exteriors with some blue for some scenes at night while putting on some displays of lighting for many of the film‘s interior scenes. Editor Lesley Walker does nice work with the editing where it does emphasize a lot on style with some rhythmic cutting for the film‘s action and humor as well as in its suspenseful moments. Production designer Guy Hendrix Dyas, with set decorator Judy Farr and supervising art director Keith Pain, does fantastic work with the set pieces from the look of the tower and castles as well as the village the Brothers Grimm go to. Costume designers Gabriella Pescucci and Carlo Poggioli do brilliant work with the costumes from the uniforms that Cavaldi and General Delatombe wears to the lavish dress the queen wears.

Makeup designer Christine Beveridge and hair designer Vera Mitchell do superb work with the makeup and hair design in the look of the queen as an aging crone to what she would look like in her prime. Visual effects supervisor Kent Houston does some good work with the visual effects from the look of the moving trees and other strange creatures though some of it is a bit wobbly at times. Sound editor Ian Wilson does terrific work with the sound to create some sound effects and such to play into the world of fantasy the characters encounter. The film’s music by Dario Marianelli is wonderful as it is largely orchestral in its playful arrangements with some moments of suspense as well as being more brass-based to play into the period of the times.

The casting by Irene Lamb is amazing as it features some notable small performances from Roger Ashton-Griffiths as a town mayor duped by the brothers, Mackenzie Crook and Richard Ridings as sidekicks of the brothers who aid them in their schemes, Tomas Hanak as Angelika’s father who told her the story about the queen, and Monica Bellucci in a terrific performance as the mysterious mirror queen. Jonathan Pryce is excellent as the very cruel General Delatombe who forces the Brothers Grimm to deal with the incident over disappearing girls or else he will have them executed. Peter Stormare is superb as Mercurio Cavaldi as a torturer who watches over the Brothers Grimm in their activities while realizing that something isn’t right as he also deals with General Delatombe’s cruelty towards him.

Lena Headey is brilliant as Angelika as a huntress who is considered a pariah in her village as she reluctantly helps out the Brothers Grimm as she wants to find her sisters who had disappeared while realizing that the story her father told is actually real. Finally, there’s Matt Damon and Heath Ledger in delightful performances in their respective roles as Wilhelm and Jakob Grimm where the two bring a lot of energy and determination to their role. Damon is the funnier of the two as he’s always got some funny things to say while being very bossy while Ledger is more reserved while yearning for some moment of fantasy as he’s constantly writing ideas that would become basis for the stories he and his brother would create. Damon and Ledger have great rapport together which does liven things up in the film as they’re major highlights of the film.

While it is a flawed film, The Brothers Grimm is still a pretty good film from Terry Gilliam. Thanks to its cast led by Matt Damon, the late Heath Ledger, Lena Headey, and Peter Stormare as well as wonderful references to the stories of the Brothers Grimm. It’s a film that is entertaining though very messy considering what Terry Gilliam had to deal with due to the constant interference from the Weinstein brothers. In the end, The Brothers Grimm is a terrific film from Terry Gilliam.

Terry Gilliam Films: Jabberwocky - Time Bandits - Brazil - The Adventures of Baron Munchausen - The Fisher King - 12 Monkeys - Fear & Loathing in Las Vegas - Tideland - The Imaginarium of Dr. Parnassus - The Zero Theorem - The Auteurs #38: Terry Gilliam

© thevoid99 2014

The Big Lebowski

Originally Written and Posted at Epinions.com on 7/5/06 w/ Additional Edits & Revisions.

Written, produced, and directed by the Coen Brothers, The Big Lebowski is a wonderful tale set in the early 1990s about a lazy stoner named Jeff Lebowski, nicknamed The Dude, who through all of his life, likes to drink White Russian, play bowling with his pals, and smoke some fine grass in his Los Angeles home with a rug, a rug that really tied the room together. Then amidst some confusion, he is mistaken for another Jeff Lebowski as criminals urinated on his rug, the rug that really tied the room together, as he seeks compensation from the other Lebowski, a richer, elder man. The Dude ends up being part of a scam where he's involved with Lebowski's artistic daughter, nihilists, porn producers, and many more as he and his buddy Walter do what they have to do to save the day.

Playing the role of The Dude is great dramatic actor Jeff Bridges in a role that he is born to play. Also starring Coen Brothers regulars John Goodman, Peter Stormare, Steve Buscemi, Jon Polito and John Turturro plus Julianne Moore, Sam Elliott, Flea, David Huddleston, David Thewlis, Ben Gazzara, Philip Seymour Hoffman, and Tara Reid. The Big Lebowski is one of cinema's greatest and hilarious comedies of all-time.

The Dude comes home to chill until a couple of thugs come in and urinate his favorite rug because he's Jeff Lebowski. Yet, he's not the millionaire Jeff Lebowski (David Huddleston) whose young wife Bunny (Tara Reid) has amassed a huge debt owed to porn film producer Jackie Treehorn (Ben Gazzara). The Dude talks to his ex-Vietnam vet friend Walter Sobchak (John Goodman) and their bowling buddy Donny (Steve Buscemi) about the incident as the Dude wants compensation for his rug. After getting in contact with Mr. Lebowski's assistant Brandt (Philip Seymour Hoffman), the Dude meets with Mr. Lebowski who is already angry over Bunny as he later steals a rug where he would meet Bunny and a nihilist named Uli (Peter Storemare). Things seem fine as the Dude is preparing himself for an upcoming bowling tournament until Brandt calls him about Bunny being kidnapped as Mr. Lebowski wants the Dude to give the kidnappers the ransom money with a 20 grand fee for the job.

The Dude and Walter make the drop-off though Walter is convinced that it's a cover-up as they bungle the drop-off where the Dude is later confronted by a mysterious woman who knocks him out as he loses his rug. Things worsen as the Dude, Walter, and Donny are threatened by a crazed bowler named Jesus (John Turturro) while the Dude is followed by a mysterious man (Jon Polito) in a Volkswagen. The Dude gets a call from the mysterious woman who is revealed to be Mr. Lebowski's daughter Maude (Julianne Moore) who is an avant-garde artist as she gives the Dude some information. After another meeting with Mr. Lebowski and Brandt that becomes disastrous due to the bungled drop-off as the Dude finds his stolen car and later deals with Uli and a couple of nihilists in Kieffer (Flea) and Franz (Torsten Voges). After another meeting with Maude and her friend in video director Knox Harrington (David Thewlis) that involves a film produced by Jackie Treehorn. The Dude is then forced to meet with Jackie Treehorn as he's accompanied by the thugs who peed on his rug.

The meeting with Treehorn turns strange as the Dude is tortured over information as he is drugged into having a surreal dream involving Maude. The night worsens following a meeting with a sheriff (Leon Rossum) as the Dude meets with Maude again who reveals more key information. This would lead the Dude and Walter to make more moves in another night full of hilarity.

Now for anyone aware of the all the plot implications and catchy dialogue that the Coen Brothers have is sometimes filled with intelligence and ideas to think about. Well, this film doesn't have any sense of intelligence or ways to move you emotionally. Nope, this is pure low-brow comedy at its finest and who better to conceive this masterpiece of slacker humor with elements of stoner comedies better than the Coen Brothers. There's no sense of character study or morals in here. The film is simply about a lazy stoner who becomes a hero, or a loser, or both Plus, it's a buddy comedy where the stupid guy is helped by an even dumber guy. It's not brain surgery or some kind of typical Academy Award-winning script. No, it's just a simple, hilarious, flat-out, laughing-your-sick-fucking-ass-off kind of comedy.

In many respects, if Fargo was the duo aiming high, this film was the duo aiming low and in a great way. Still, the Coen Brothers manage to reference everything they've done before where for example, Steve Buscemi's character in Fargo never shuts up while the character of Donny never really gets a chance to talk. In many ways, the Coen Brothers are just having fun where the film's script that is accompanied a bit by the rambling narration of a sarsparilla-loving cowboy called the Stranger played by Sam Elliott. The script is built to create each funny moment and situation with rambling dialogue that just makes the audience care or laugh at the Dude with or without his cohorts.

Joel and Ethan Coen's direction is filled with the traditional camera angles while he presents some hilarious sequences. Notably the film's fantasy sequences which features a Saddam Hussein look-a-like giving the Dude some bowling shoes. The fantasy sequences are surreal yet witty in the Dude's adventures. Even the aura of mystery surrounding the whereabouts of Bunny reveals that despite his laziness, the Dude isn't a total idiot who has morals while the mystery angle works to help carry the comedy. Coen's direction brings a presentation of Los Angeles that is strange and zany for all the surroundings of the Dude.

Helping the Coen Brothers in their unique vision is their longtime cinematographer Roger Deakins. Deakins' work is filled with wonderful lighting in the brightness of the bowling scene while capturing the upper-class world of the film's interior settings. For the exterior settings, Deakins uses the flashy colored lights of the pool and the bowling alley stars to brings a surreal, colorful atmosphere for the surroundings of Los Angeles to complement the Dude in his stoned state. Production designer Rich Heinrichs helps create the contrasting world of upper-class and lower-class Los Angeles while giving a wide look for the film's bowling scenes as well the surreal fantasy sequences for the Dude. Longtime costume designer Mary Zophres also does great work in the film's costumes, notably in the costume sequences where Julianne Moore wore two bowling balls as a bra while most of the clothes the Dude wears is actually the clothing Jeff Bridges own. To think that a rich, successful actor like Jeff Bridges could actually afford some decent clothes instead of the cheap ones he wore as the Dude.

In their alias as Roderick Jaynes, the Coen Brothers with Ethan's wife and editor Tricia Cooke brings a nice, leisurely-paced style to the film's editing while the film's tight cutting help the scenes move along nicely, particularly the segue to the fantasy sequences. Jaynes and Cooke does some great work with the editing with the help of longtime sound editor Skip Lievsay who does some excellent sound work to help out in the film's strange atmosphere to play with its humor. Longtime composer Carter Burwell does some excellent score work with his orchestral arrangements to play up to the film's intensity in its mystery subplot while some more playful textures to the film's comedy. Most of the film's music is supervised by T-Bone Burnett who created a rich soundtrack to play up to the world of the Dude.

The soundtrack includes an array of great cuts filled with such classic rock music from Creedence Clearwater Revival, Bob Dylan, Santana, Booker T & the MGs, Townes Van Zandt, and Elvis Costello plus a couple of cuts from the Eagles. A cover of Hotel California by the Gypsy Kings and another song from the band where it had a scene of the Dude saying he hates the fucking Eagles. There's also some nice jazz cuts from Nina Simone, Dean Martin, Debbie Reynolds, and a cut from the Sons of the Pioneers that opens the movie. There's also a great cut in a fantasy performed by Kenny Rogers & the First Edition that is very surreal yet fun to watch with the music. Burnett's choice of music is brilliant and its easily one of the best soundtracks ever which also includes two covers of Viva Las Vegas by ZZ Top and Shawn Colvin.

Now there's the film's cast which includes some wonderful cameos and small performances from porn actress Asia Carrera as an actress in a porn film, Aimee Mann as a fellow nihilist, Dom Irrera as a limo driver, Carlos Leon as a thug of Maude's Coen Brothers regular Jon Polito as the Dude's stalker, Jerry Havela as Saddam Hussein, Leon Russom as the Malibu sheriff, Jesse Flanagan as the quiet kid Larry, David Thewlis as Maude's video director friend, Phillip Moon and Mark Pellegrino as Treehorn's thugs, and Jimmie Dale Gilmore as Smokey, the guy who Walter violently threatens. Red Hot Chili Peppers bassist Flea and Torsten Voges are hilarious as the nihilists while Peter Stormare is even funnier as the lead nihilist with their funny German accents. Tara Reid is good as Bunny Lebowski which isn't much of a stretch since her party girl antics makes her suited for the role.

Ben Gazzara is excellent as the sleazy but charming porn producer Jackie Treehorn with his coolness and business-like presence. Coen regular John Turturro's small performance as Jesus is truly one of the best small roles ever as Turturro brings a lot of funny creepiness and antics that are so memorable to watch while he does a great Spanish accent. Another Coen regular in Steve Buscemi is also funny as the nice but often interrupted Donny who always tries to get into a conversation but ends up being a great comedic prop as Buscemi played the role perfectly. Philip Seymour Hoffman gives a great, straight performance as Mr. Lebowski's assistant Brandt with such restraint and manner as Hoffman plays the role in the straightest way as he comes off as the most straight person in the film. Sam Elliott is very funny as the Stranger whose rambling narratives often lose track while his voice is very laid back and often talking about sarsparilla. David Huddleston is great as Mr. Lebowski with his mean-like presence that is big as Huddleston really stands out.

Julianne Moore gives her most pretentious performance to date as Maude Lebowski as Moore plays the role with sheer fun while creating a mock-European voice to give the character a lot of humor. It's Moore's funniest performance overall as she brings a lot of snobbery as Moore parodies the art world with her great performance. Coen regular John Goodman is truly perfect as Walter with his stickler to the rules and his misreading of information. Goodman has a great, cartoon-like army look that is truly Walter and no one could play that role better than him. Goodman has great chemistry with Bridges as they make one of the best comedies duo of all-time.

Finally, there's Jeff Bridges in what is truly, a role that he is born to play as the Dude. Bridges before the Dude was always wonderfully dramatic and showing a lot of his range in his roles. Once he is the Dude, Bridges looks like he has a lot of fun as the Dude with his laid-back persona while trying to do things right although he never does. Bridges never makes his character truly pathetic yet he's so much fun to watch that he becomes an unconventional hero. If there's one film performance Bridges will be remembered for, it'll be as The Dude.

If there's only one film to see from the Coen Brothers, it's The Big Lebowski. Thanks to the performances of Jeff Bridges, Julianne Moore, Ben Gazzara, Sam Elliott, David Huddleston, Phillip Seymour Hoffman, and Coen regulars John Goodman, Steve Buscemi, Jon Polito, John Turturro, and Peter Stormare. The film is without a doubt a classic stoner comedy. While it's not for high intellectuals who want a plot, it's for anyone who just doesn't care and just wants to laugh. So in the end, grab some White Russians, some grass, call a few bowling buddies, and have a good time watching one of the greatest movies of all-time, The Big Lebowski.

Coen Brothers Films: Blood Simple - Raising Arizona - Miller's Crossing - Barton Fink - The Hudsucker Proxy - Fargo - O Brother, Where Art Thou? - The Man Who Wasn’t There - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

© thevoid99 2012

Fargo

Originally Written and Posted at Epinions.com on 9/18/05 w/ Additional Edits & Revisions.

Supposedly based on a true story, Fargo is set in a snowy little town called in Minnesota in 1987. A desperate car salesman's wife is kidnapped by a couple of men hired by her husband so he can get a hefty ransom from her father. Investigating a series of murders that are linked to the kidnapping is a pregnant, witty police chief from that small town. Written, produced, and directed by Joel Ethan Coen, Fargo is a witty, violent, quirky crime film that has all the ingredients into what makes the Coen Bros. one of the finest duos in cinema. Starring Joel Coen's wife and regular Frances McDormand plus longtime collaborator Steve Buscemi along with William H. Macy, Peter Stormare, John Carroll Lynch, Kristin Rudrud, Harve Presnell, Larry Brandenburg, and Steve Park. Fargo is a wonderful black comedy from the Coen Brothers.

Car salesman Jerry Lundegaard (William H. Macy) drives to a small town in Fargo, North Dakota from Minneapolis to meet a couple of criminals named Carl Showalter (Steve Buscemi) and the more quiet Gaesar Grimsrud (Peter Stormare) through Jerry's mechanic friend Shep Proudfoot (Steve Revis). Unable to obtain loands from his father-in-law Wade (Harve Presnell), Jerry hires Carl and Gaesar to kidnap his wife Jean (Kristin Rudrud) for a hefty ransom they split as Jerry also loans them a car. After returning home to eat dinner with Wade, Jean, and his son Scotty (Tony Denman), Jerry learns he could get a loan from Wade as he tries to talk to Shep to cancel the plans. Instead, Carl and Gaesar kidnap Jean as Jerry learns what had just happened as Carl contacts Carl telling him that he'll talk to him when he has the money.

After killing a highway patrol officer (James Gaulke) and a couple of witnesses on their way to their hideout and later stopping at a motel to have sex with a couple of hookers (Larissa Kokernot and Melissa Peterman),Carl and Gaesar arrive at their place. Meanwhile, the murders that Carl and Gaesar have done is investigated by a 7-month pregnant police chief named Marge Gunderson (Frances McDormand) as she is joined by her partner Lou (Bruce Bohne). Hearing about a car with unmarked license plates and believing they were from out of town, Marge leads the investigation while getting help from her husband Norman (John Carroll Lynch) to bring her food. After interrogating the hookers and talking to another officer named Olsen (Cliff Rakerd), Marge goes to Minneapolis to meet with Jerry about the stolen car which he claims to know nothing about as he later talks to Carl who decides to go to Minneapolis to get the money.

While staying at Minneapolis, Marge meets up with an old school friend in Mike Yanagita (Steve Parks) as the two reminisce old times as Mike is going through hard times. Also in Minneapolis is Carl who goes out with a hooker (Michelle Hutchison) at a Jose Felicano concert where things later go bad because of Shep who finds himself in trouble. Carl calls Jerry for the money drop as Wade decides to get involved while Marge's meeting with Mike has her raising more suspicions towards Jerry. Notably as things come to ahead for this simple yet well-meaning police chief who tries to come to terms with everything that has happened.

In a lot of ways, Fargo has all the elements that is needed in a true story from the Coen Brothers. Take the noir-style of Blood Simple, the eccentric comedy of Raising Arizona, the fast-talking dialogue and violent tone of Miller's Crossing, and the intense emotions of Barton Fink all into a mix and you get Fargo. The genius of the film really belongs to the Coen Brothers by creating a black comedy that is filled with a lot of intensity in terms of its emotions and situations along with morals. The film has a structure where it builds up to what is going to happen but it's really about is the results. The first act is Lundegaard talking to Carl and Gaear about the kidnaping and the act of it. The second act is Marge investigating the murders and what is going. Then there's the third act where everything comes to place in a classic film-noir set-up but its aftermath is filled with not just tragedy but a situation where no one really gains anything as Marge tries to come to terms in what it's all about.

The way the film is written is a genius into what Joel and Ethan Coen can do since they create situations that are very dark or areas where it can be pretty funny. The dialogue of the film definitely feels authentic since they're setting it in North-Midwest where everything has a bit of Scandinavian dialogue with people saying Ja. The area gives the film an eccentric feel with some great humor, even in the strangest of situations. The film's violence in comparison to other films at that time is a lot more brutal. Though not as bloody as the films of Quentin Tarantino or his imitators but the action and level of it is enough to make people feel queasy. It's a part of the genius in the Coen Brothers in terms of what they can do as storytellers.

Joel Coen's directing also leans into that classic film-noir style of slow close-ups and dark atmosphere, especially when the film reaches a dramatic intensity. The film also has that genre of caper films, which was becoming very popular at that time with Tarantino's Reservoir Dogs and Wes Anderson's Bottle Rocket, but it's done in a dark, comic way that only the Coen Brothers could do. A lot of the film's comedy feels natural and even in their improvisation approach. Everything that Joel and Ethan do in the directing is filled with not just great camera angles shots but scenes that tells something, even through smaller characters as they fill in each clue to a mystery and what happens as the suspense builds up into a classic crescendo. It's truly a remarkable form of what directing is.

If Joel does most of the directing and Ethan does a lot in the producing situation, then there's their approach to editing in their alias of Roderick Jaynes. With Ethan's wife Tricia Cooke helping along, the film has a nice, leisurely paced feel with a very idiosyncratic structure in its 100-minute running time. The way the film is cut with a nice, stylized approach to editing, especially in moments where they show things that are happening but doesn't necessarily show the action itself. Helping Joel Coen in capturing his dark vision is their longtime cinematographer Roger Deakins who creates a wonderful epic, noir-style of photography from the night-time scene of Brainerd with Paul Bunyan statue to the snowy scenes where the snow serves as the light. Deakins' photography is brilliant in its mood and how it gives the film a sense of doom and relief.

The film's production designer Rich Heinrichs brings in a natural look to the homes and offices of the film's interior while Coen Brothers' longtime costume designer Mary Zophres brings in some realistic design to the winter clothing of the characters. Longtime sound editor Skip Lievsay and sound designer Allan Byer help create the dark, atmosphere of the film's exterior scenes with its natural sound of snow and winds. Finally, there's the dramatic, epic score of longtime Coen Bros. composer Carter Burwell who brings in huge arrangements and orchestral tones for the film's noir style and a wave of melancholia in the film's more dramatic moments as Burwell brings in one of his best film scores.

Finally, there's the film's cast that includes several quirky small characters whether its regular folk or anyone of the smaller supporting characters in the film. Everyone in that movie stands out with great, funny performances from Larry Brandenburg as Wade's business partner, Larissa Kokernot and Melissa Peterman as the hookers who are interrogated, Bruce Bohne and Cliff Rakerd as Marge's fellow policemen, and Tony Denman as Jerry's anguished son. Steve Parks gives a funny yet eerie performance as an old school friend of Marge who is hurt by loneliness that really is a much bigger role than it is in terms of the film's story. John Carroll Lynch is also excellent in his role as the loyal, loving Norm who does everything to take care fo his pregnant wife. Steve Reevis also stands out as the big Indian Shep who goes nuts when a caper plan falls apart.

Kristin Rudrud is wonderfully funny in her role as the victim with her physical comedic performance while in other scenes, she presents herself in a nice, innocent way as a loving mother/wife. Harve Presnell is also great in his role as the angry, opportunistic Wade who is kind of a bully but for all the right reasons as he desperately tries to save his daughter but is not merely a good man since he too is filled with greed. Peter Stormare is amazing as the quiet but chilling Gaear where when he's quiet, he's really dangerous while giving out some hilarious moments in doing nothing as Stormare shines in one of his greatest performances. Steve Buscemi is also funny as the talkative, opportunistic Carl Showalter with his role in being the leader of the plans while wanting to have a good time only to get into some trouble. Buscemi brings in the same kind of humor and attitude to the performance we often expect from him.

William H. Macy gives a classic performance in one of his finest of loser roles that he's been known for playing. In Jerry Lundegaard, he plays a desperate loser who often gets bullied on a bit at work and from his father-in-law and mindlessly plans a prank. Macy brings in a lot of torment, insecurity, and humor into the character while knowing that he's not a good guy but he's not a bad guy either. Macy gives an amazing performance as a fool who loses sight of what's important.

Frances McDormand delivers an amazing performance as the smart, simple-hearted woman Marge Gunderson. McDormand shines above all others with her funny dialogue and accent while reminding her fellow cops about their abilities while not trying to be better than them. McDormand brings in a lot of humor to her dialogue while as a cop, doing the right thing and slowly finding clues without second-guessing. There's an intelligence and heart that lies in Marge Gunderson and McDormand hits all the right notes, especially when she meets an old friend that gives her a clue into what is going on. In the scene where Marge looks around Jerry's desk, McDormand gives her best moments where she looks around trying to figure something out as she confirms her suspicions. When the film nears its ending, McDormand reminds the film's audience and a character about the sins that is committed in the film. It's truly remarkable in a performance that everyone can relate to.

Fans of the Coen Brothers will no doubt regard Fargo as one of their best films led by a great performance from Frances McDormand and wonderful supporting performances from William H. Macy, Steve Buscemi, and Peter Stormare. Anyone who has a knack for caper films, black comedy, and noir-touches will love this film immediately. This is truly one of the greatest films of the 1990s and also, of all-time. Anyone who loves the early Coen Brothers films will indeed find a lot of references and techniques that is brought to a film so highly original as Fargo did.

Coen Brothers Films: Blood Simple - Raising Arizona - Miller's Crossing - Barton Fink - The Hudsucker Proxy - The Big Lebowski - O Brother, Where Art Thou - The Man Who Wasn’t There - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

© thevoid99 2012

Dancer in the Dark

Originally Written and Posted at Epinions.com on 3/24/04 w/ Additional Edits & Revisions.

Written and directed by Lars von Trier, Dancer in the Dark is a film about a Czech immigrant raising her son in 1964 America trying to raise money to save her son's sight as her own vision diminishes. In the spirit of Dogme 95, von Trier goes for natural sounds and realism for storytelling as he also combines another film genre that he loves, the musicals. In Dancer in the Dark, von Trier uses the musical as an escapist backdrop to the character of Selma, played by Icelandic vocalist Bjork, as her world crumbles down as she tries to save the life of her own son in one of von Trier's most powerful achievements.

It's 1964 in Washington as Czech immigrant Selma is rehearsing to play Maria for a production of The Sound of Music. While working at a factory with her friends Kathy (Catherine Deneuve) and Jeff (Peter Stormare), Selma hopes get the role for the play as she dreams of being in a musical while hoping to raise money for her son Gene (Vladica Kostic) who might become blind as she is starting to suffer from blindness. While her landlord in local officer Bill (David Morse) and his wife Linda (Cara Seymour) help out, she has managed to save $2000 as Gene's doctor (Stellan Skarsgard) starts to worry about Selma's eyesight. While she tries to hide her blindness from everyone including the factory foreman (Jean-Marc Barr), it doesn't help out as her work suffers while the play director (Vincent Paterson) thinks she might not be up to doing the part.

Following a meeting with Bill over his own financial issues due to Linda's spending, Selma decides to keep a secret for Bill. Hoping to get more overtime for more money, she suddenly daydreams of being in a musical where she causes trouble and is fired. After telling Jeff about her blindness, she has another daydream moment as Jeff decides to meet her later that day. Upon returning home, Selma learns that the money she has saved was stolen as she asks Bill where something goes wrong leading to a horrifying incident. Meeting up with Jeff, he takes her to the hospital where they meet the operation doctor (Udo Kier) and gives him money for Gene's operation. After being arrested following a rehearsal, Selma is then put into trial where its district attorney (Zeljko Ivanek) interrogates her.

Claiming her father is Czech film star Oldrich Novy (Joel Grey), Novy attends the trial as she has a dream that they're dancing for a musical number. Sent to jail following the trial, Selma befriends a guard named Brenda (Siobhan Fallon) as Selma makes another move to save her son's life.

The film is clearly von Trier's most accessible effort to date despite his emphasis on handheld digital video cameras that he used since he is also credited as the camera operator. Emphasizing on the spirit of Dogme 95, von Trier brings a natural look to the film as opposed to the more cinematic, heightened look of most films today. With Breaking the Waves cinematographer Robby Muller, von Trier gives the film a look that is captivating from its grayish tone in many scenes to the more colorful tone in the musical interludes where Muller shines in his vast cinematography, especially since the musical numbers features nearly 100 cameras in use. For von Trier, it’s another experiment that succeeds as he just tries to bring a real look without any gloss that has been seen in Hollywood films.

The film's story is a wide mix of melodrama and musicals as Bjork's Selma says that in musicals, nothing dreadful happens. Well with von Trier, that isn't the case. Especially the ending that is just heartbreaking because of its sadistic nature as von Trier uses pain for a huge, emotional climax like he did in Breaking the Waves. Really, the story is about a woman saving the life of her child by sacrificing herself and it's a heartbreaking story. While the film's first act starts off a bit slow (if you don't count the colorful overture in the film's first few minutes), it picks up just as the musical numbers come in with amazing choreography from Vincent Paterson as well as original music from Bjork with additional compositions from longtime Bjork collaborator Sjon Sigurdsson and von Trier himself.

The music definitely plays up to the spirit of musicals that von Trier has loved with its mix of electronic beats and textures as well as Rodgers & Hammerstein arrangements all put in a lush, grand tone. Bjork is clearly the star of the music as the cast itself sings many of the great songs on the film (although Peter Stormare's vocals were replaced by Radiohead's Thom Yorke in the film's soundtrack entitled Selmasongs). The music really serves a purpose in the same way von Trier used the music as an emotional outlet in Breaking the Waves.

Another great aspect of the film, which received a lot of controversy when it premiered at the Cannes Film Festival in 2000, was von Trier's depiction of America. While the film was shot in Sweden, von Trier does give a nice idea in what America would look like although in Washington, it's usually rainy. In many respects, von Trier is looking at America in a dream in the same way Stanley Kubrick used London as New York City for Eyes Wide Shut. Really, it's America in a dreamier tone in reference to the Hollywood musicals that Selma loved. Really, von Trier isn't trying to knock America but he knows that he doesn't have to go there to know what's going on since he's pretty much afraid to go on a plane and doesn't like to travel very much.

The film's cast is amazing not just in their singing voices but in their roles as well. While von Trier veterans like Stellan Skarsgard, Udo Kier, and Jean-Marc Barr had small roles, their cameos were fun to watch in their respective roles while Vincent Paterson is excellent as the theater director and Zeljko Ivanek is excellent as the D.A. and doing a great job in an American accent. Joel Grey is amazing to watch in his small role as Oldrich Novy as he shows his graceful talent as a dancer and as an actor, especially since he hasn't been heard from since his Oscar-winning performance in Bob Fosse's Cabaret.

Cara Seymour is wonderful as the scornful wife Linda, especially playing a character that later on, is loathed for her actions and Seymour does an excellent job in that performance. Vladica Kostic is wonderful as Gene, especially since he just plays a kid in a restraint tone without going over the top or anything. Siobhan Fallon is lovely as Brenda as the scenes with Bjork are gripping to watch, especially in the film's final moments.

For the rest of the supporting cast, the film's best performance easily goes to French film legend Catherine Devenue. Devenue is amazing to watch as Selma's sympathetic best friend who shares her love of musicals. Devenue almost serves as a voice of reason for the anguished, naïve Selma as in the third act; her action nearly upsets Selma as in the end, comes a heartbreaking scene of friendship. Devenue is as enigmatic and masterful in her portrayal. Peter Stormare is superb as the wannabe-boyfriend Jeff by just underplaying the role sensitively and sympathetically and you want him to be her boyfriend. Stormare gives a subtle performance that is quiet and gripping at the same, especially in the film's final act. David Morse is amazing as the anguished Bill who does get sympathy despite his own actions but when Morse sings, he shines as does his character that gives more outlook into this versatile yet, underrated actor.

The film's best performance overall easily goes to Bjork in her first film in many years since she's done film work as a child in her native Iceland. In her first adult performance, Bjork brings a heartbreaking, sympathetic performance that is filled with lost innocence and anguish. The character of Selma is a complex yet flawed character as she brings the escapism in everyone through musicals. Bjork even comes livelier in the musical interludes with her thick Icelandic vocals while in the final act, she comes out with a gripping performance that is so powerful, it will leave you in tears.

Dancer in the Dark is a spectacular, genre-bending film from Lars von Trier. With a great cast led by Bjork and Catherine Devenue along with wonderful musical interludes, the film is among one of von Trier's more accessible film as well as one of his strangest. While it has a look that is strange despite the dated look of the digital photography, it is a film that is very abstract and dream-like. In the end, Dancer in the Dark is a superb film from Lars von Trier.

Lars von Trier Films: The Element of Crime - Epidemic - Medea - Europa - The Kingdom I - Breaking the Waves - The Kingdom II - Dogme #2-Idioterne - Dogville - The Five Obstructions - Manderlay - The Boss of It All - Antichrist - Dimension (2010 short) - Melancholia - Nymphomaniac - The House That Jack Built - The Kingdom: Exodus - (Etudes)

Related: The Auteurs #7: Lars von Trier

© thevoid99 2012