Review of O Brother, Where Art Thou? (2000) by Cameron J — 04 Jun 2014

I know when I think of escaped, eccentric convicts on a treasure hunt in rural Mississippi, during the Great Depression, I think of Homer's "Odyssey". It's interesting how the Coen brothers are able to make some sophisticated films for simple folk, although they ought to confuse plenty of the simple folk in question, not with the wit, but with their also having the ability to make a film both fun and boring. These boys' scripts may be tight, but their pacing isn't, although it's hard to get bored when you're on an adventure with George Clooney, John Turturro and Tim Blake Nelson, running into a lot of those good old-fashioned deep South shenanigans. One might think that only I, a proud southerner, would be the only one who would find those shenanigans really fun, and I might agree with you there, because even though the Coens' roots reach far from the south, they're from Minnesota, and must not have been raised with a high standard in fun. Well, they must not be too Minnesota, because they obviously don't know their manners, what with their getting back to talking some serious trash about the lower states of America after they ticked... "somebody" off with "Raising Arizona". Well, in all fairness, as an Alabamian, I can tell you that our favorite thing to do next to play college football, listen to country music, play with our tractors, and hold Klan rallies is to crack on Mississippi, so I guess that might explain why I really had so much fun with this film. Well, I had fun up to a point, because as good as this film is... except maybe to people from Mississippi (Oh, like they're smart enough to get the Coens), it's neither consistent with the fun nor, for that matter, the originality.

This film is refreshing in a lot of ways, and that only makes it all the more frustrating once it slips into conventions with its themes and structure as an adventure period piece and southern satire, which are sure to work their way in somewhere along the way, considered how overblown the narrative is. By this time, it had more-or-less become a tradition for the Coen brothers to take minimalist subject matter and mold it into a story concept too heavily bloated with layers to keep consistent with focus, and that's particularly an issue here, for although this narrative isn't as overblown as that of, say, "The Big Lebowski", it's more episodic, jarring from segment to segment, rarely to return. There's too much going on for this film's own good, thus, the film's welcome, no matter how warm, is challenged time and again, not just by the sheer excessiveness of the material, but by material's hitting a certain something that the even more overblown "The Big Lebowski" was at least busy enough to avoid: slow spells. This film continues to showcase the Coens' beginning to get a solid grip on keeping thoughtful with storytelling, but not to the point of tedium, and yet, considering that they're trying to restore some cleverness after the thoroughly fun, but nonetheless overtly fluffy "The big Lebowski", they hit their show of slow spells that all but bore in their lack of momentum. Of course, once the film whip back into shape, it has a tendency to whip a touch too hard, with plotting and characters that are supposed to be peculiar, sure, and work adequately in the context of this satire, but get carried away at times in which slow spells are broken by freneticism that, well, gets on your nerves as questionable storytelling devices, which isn't to say that they're the only ones. Like "The Big Lebowski", the film is so colorfully well-handled that it all but stands out with its sheer entertainment value, but it hardly gets to that point easily, for its story concept, plain and simple, is inconsequential, and with these natural shortcomings being brought to light by such consequential shortcomings as pacing issues and occasions of formula and obnoxiousness, the final product all but loses its respectably high reward value. Of course, when it's all said and done, the film is a mighty fun time for those who carry patience, only so much of which is challenged, being sustained even by such little triumphs as a memorable soundtrack.

The film's soundtrack is about as sweeping of a success as the film itself, and that sure is understandable, as it uniquely nails the musical flavors of the time and region portrayed in this southern period piece, whether it be through a bluesy acoustic score by T-Bone Burnett, or through roots tunes, - both archived and re-interpreted in modern blues and folksy talents - both of which entertain by their own right, while capturing the film's era about as effectively as the film's production value. Richard L. Johnson delivers on solid art direction that orchestrates Dennis Gassner's production designs and Mary Zophres' costume designs in such a way that distinguishes the diverse environment of Depression-era Mississippi with immersion value and a certain handsomeness, augmented by Roger Deakins' beginning to make breakthroughs in his now highly respected cinematographic style, which stresses softer areas of color and lighting in a distinct and subtly handsome manner. A respectable deal of style is showcased here, and played with mighty well by Joel and Ethan Coen, as directors whose thoughtfulness never slows things down too much, keeping entertainment value high through its celebration of the aforementioned subtly sharp style, in addition to the charisma of a talented cast. Comprised of many a charmer, - each one of whom has his or her time to deliver - this film's cast flaunts such standouts such delightfully over-the-top supporters as Michael Badalucco, Stephen Root, Charles Durning and John Goodman, in addition to a lead triad of George Clooney, John Turturro and Tim Blake Nelson that ought to be just about iconic in their boasting sparkling charisma, as well as equally sparkling chemistry. Each one of these leads is a real treat, and together, with their more fleshed out and less goofy Three Stooges dynamic, they carry the film, and yet Clooney, Turturro and Nelson wouldn't drive the final product so far if they weren't given such colorful material to bring to life. While inconsequential in its fluffiness, this film's story concept, with its adventurously dynamic plot, holds a potential for entertainment value that the Coens at least do justice with their solid - nay - outstanding scripting, which, despite its being so convolutedly, or at least unevenly overblown, which delivers on memorable set piece after memorable set pieces that, backed by unique characterization, establishes a high sense of adventure that is about as lively as razor-sharp dialogue, and thoroughly clever satire. The film might not be quite as lively as something like "The Big Lebowski", in spite of its featuring a more dynamic narrative, but it is more clever, and as surely as the entertainment value, by some miracle, drove the inconsequential "The Big Lebowski" to an almost outstanding state, the wit, style and dynamicity of this fluff piece prove to be enough to make a mighty fun affair.

When the odyssey is completed, strength is well-challenged by formulaic occasions, focal inconsistencies to an overblown plot, some obnoxiously over-the-top touches, and, of course, natural shortcomings, but just as well-secured by the excellent soundtrack, immersive art direction, handsome visual style, and thoroughly colorful direction, acting - especially by leads George Clooney, John Turturro and Tim Blake Nelson - and writing which make the Coen brothers' "O Brother, Where Art Thou?" an almost outstandingly fun portrait on the colorful world of Depression-era Mississippi.

3.25/5 - Strong.