Review of Hail, Caesar! (2016) by Em K — 21 Jul 2016

Having never grown tired of The Coen Brothers, Hail, Caesar! sounded like another eccentric addition to their filmography.

As I had predicted, Hail, Caesar! is a distinctively Coen Brothers film. It most definitely lives up to this prophecy, for better and for worse. The Coen Brothers are known for their unconventional narrative format. The unconventional nature of their experimentation varies based on their films, and when it comes into the format of a comedic piece it has a tendency to really push the limits. In the case of Hail, Caesar!, it feels like The Coen Brothers have gone back to a similar style they implemented into The Hudsucker Proxy (1994). Being a lesser known entry into The Coen Brothers' filmography due to mixed reception and disastrous box office results, The Hudsucker Proxy depicted The Coen Brothers tackling a nostalgic genre with their throwback to screwball comedies. There's even a throwback to their work on one of their most critically acclaimed comedies The Big Lebowski (1998) as there is the presence of a fat man repeatedly shouting "Shut up!" as if he's talking to Steve Buscemi. In a clear throwback to the history of postwar Hollywood and its style of film, Hail, Caesar! aims to touch upon a nostalgic style with some commentary on the era. Although it achieves better results than The Hudsucker Proxy due to more satirical ambitions, it still fails to achieve the same standard of narrative success that it finds in its overall style.

The actual story development is incredibly inconsistent. Though Eddie Mannix is the protagonist of the film who seems to wade his way through the majority of the story, the actual narrative is constructed out of a series of vingnettes which are tied together loosely by his presence and and recurring themes. With narrative in the film is incredibly scattered because while Eddie Mannix's story of pursuing Baird Whitlock's mysterious disappearance seems to actually have somewhere to go, most of the other stories are subplots which go nowhere and have minimal lasting relevance to the overall story. The absurdist humour and satire in the film certainly keeps the sequences enticing, but they seem mainly exploited for the sake of making a joke rather than making any kind of actual social commentary on the structure of post-war Hollywood. The film is an exercise in style and humour, but it lacks the narrative coherence to fully grasp its ambitions. It doesn't stop the film from reaching out, but the overall result exceeds the narrative grasp of the screenplay.

Hail, Caesar! is a film rich with themes but limited in actual exploration. With such a wide collection of concepts that it wants to satirise, Hail, Caesar! finds many things to joke about but not too many intelligent points to make. Since the film is so reliant on quirky humour and a particular style, it doesn't necessarily have the correct status to be exploring everything it wants to. So when much of the film comes up shallow for the sake of simple jokes, it's no surprise. Frankly, Hail, Caesar! is a love letter to post-war Hollywood and relies on audience fondness for the film's nostalgic value to really succeed. It certainly hits many correct notes in this specific ambition, but there isn't any character development or genuine depth to come with it.

Nevertheless, Hail, Caesar! is a fun experience for the right viewer. Those who are able to sit back and laugh at the silly antics, appreciate the stylistic intentions and satirical intentions of the film should be able to embrace its distinctively Coen nature. The directors capture the manic energy of the era with a series of proudly oddball comedic sketches that have more than enough natural charm to compensate for the shortage of narrative development. The lack of character depth is made up for by the witty dialogue and swift pace of delivery, as well as the fact that the story keeps moving at a rate that it's frustration own minute is replaced by laughter in the next. There are a lot of things happening and many characters to keep up with, but there is plenty to laugh about with the energetic mood of the film and the distinctively Coen tone. The film is a light satire of so many people from Hollywood's Golden era and varies in the quality of each subject but effectively finds humour in all of them.

And the stylish nature of the film is perfect. In recreating the Golden Age of Hollywood, Hail, Caesar! uses some perfect scenery and extensively detailed production design. Everything from the costumes to the colour scheme of the world screams out to the time of the story, and the cinematography captures it in a truly convincing manner. The cinematography mimics the style and aspect ratio of classical films, and much of the story takes place on sets built for films within the film which are constructed with extensive detail to them. There is a marvellous feeling of proscenium joy that comes with the design of Hail, Caesar!, ensuring that the visual experience captures plenty of imagery for viewers to behold. The way the film mimics the designs of sets for musical films, the epic design of a biblical story and the cheesy nature of western films remain an unforgettable testament to the stylish ambitions of the directors.

And even though most of the characters in Hail, Caesar! aren't utilised for any real narrative purpose outside of jokes or plain name dropping, everyone is extremely dedicated to capturing the classical Hollywood feeling of the story.

Josh Brolin leads another Coen Brothers film with a predictably convincing performance. The way he captures Eddie Mannix's character is perfect since he plays the part with a legitimate approach to a stereotype, convincingly integrating with the dramatic elements of the story while bringing deadpan humour into it. He plays the role with an underside of sleaze to him; a subtle element of the classical Hollywood gangster stereotype as a throwback to the genre and an effective portrait of crime in the film industry. Josh Brolin captures the part with a smooth blend between humour and drama, creating a consistent flow which brings out some strong interactions with the colourful characters that surround him. Josh Brolin makes a perfect fit as Eddie Mannix.

But Alden Ehrenreich is the real standout of Hail, Caesar!. The relatively unknown young actor is thrust into the position of western actor Hobie Doyle for the film and plays it perfectly. Centred around real-life Hollywood actor Kirby Grant while maintaining elements of John Wayne's inability to transition out of his action man persona, Alden Ehrenreich perfectly captures the charming young spirit and determination of an ambitious rising star and does it with enough lightheaded charm to make a perfectly likeable character out of it. Hobie Doyle is a young man with the best intentions for everything, and Alden Ehrenreich effectively plays an adorable doofus and a convincing cowboy at the same time. Academy Award nominee Ralph Fiennes shares the screen with him, but Alesen Ehrenreich steals the screen from him. Ralph Fiennes makes a hilarious presence with his pompous nature and sophistication, but Alden Ehrenreich's contrasting hopefulness is of a more transcendent charm. Alden Ehrenreich is a true gem that The Coen Brothers have discovered and gracefully handed to audiences to enjoy.

George Clooney is another big name to the film who takes Hail, Caesar! as a chance to portray an against type character in the role of Baird Whitlock.

George Clooney's depicts an unreliable and careless actor caught up in his own mistakes and a conflict of political belief. The man comes off as seeming confused by everything as he wanders aimlessly through the high society and mysterious underbelly of Hollywood. George Clooney keeps his naturally handsome appeal but drops his sophistication for an alternative source of witty appeal that comes from seeing the actor portray someone who cannot act properly. George Clooney once again displays a likeable array of comedic skills in working with The Coen Brothers, and his the idiotic nature of his character is a laughable change of pace for him.

Channing Tatum is a stunning sight in Hail, Caesar!. Rather than trying to do anything much in the way of character development, Channing Tatum delivers a ridiculously flamboyant physical effort in a role modelled after Gene Kelly. The man's best scene comes from an extensive dance number where audiences see a side to the actor that they have not before; one which is both a remarkable achievement and a hilarious thing to experience. Channing Tatum proves himself to be a remarkable dancer in Hail, Caesar!, and his big number stands out as one of the most memorable scenes in the film.

Scarlet Johannson's role in the film is simple: look beautiful, dance with grace and perfect an accent. She easily perfects all three of these jobs and shares a convincing chemistry with everyone else in the process.

Tilda Swinton pulls off an effectively funny supporting performance, and Wayne Knight's subtle appearance evokes memories of his role as Newman on Seinfeld (1989-1998). But of all the supporting cast members, Frances McDormand's quick wit makes her the funniest.

And seeing Christophe Lambert in a mainstream film is extremely refreshing to me as a huge fan of Highlander (1986). Even if his role is extremely brief, the fact that he shares his scenes with Josh Brolin whom he shared a mutual ex-wife with provided some clever meta-humour.

It's pure fan service that Jonah Hill is present in Hail, Caesar! since it all just seems part of a long array of films that feature both him and Channing Tatum, but he's a genial presence nonetheless. But as a fan of Dolph Lundgren, I must state dissatisfaction at the fact that his cameo is a silent one where he hides beneath the shadows to the point that he is unrecognisable in any form. Given that the role of Soviet Russian boxer Ivan Drago is the one that made him famous in Rocky IV (1985), the fact that he has nothing to say or do in Hail, Caesar! is frustrating.

Hail, Caesar! doesn't do much to expand upon the heavy amount of material it touches upon or find much to do with its story, but it's lighthearted sense of Coen humour combined with detailed imagery and a brilliant cast makes it an entertaining distraction.