I have been a film buff since I was little. I probably get a lot of it from my father, who had a sizeable VHS collection in the ‘90’s. One of his random acquisitions was Raising Arizona. He told me not to bother with it, that it was weird and ridiculous, some director he’d never heard of. So I took his advice, and didn’t watch it.

 

A couple years later, around 1995, it was movie night at home. We rented The Hudsucker Proxy, because it looked funny. I thought it was really cool, but everyone else hated it. I didn’t even bother to check who directed it.

 

Cut to 1998. I had seen The Big Lebowski advertised on TV, but being thirteen, I couldn’t see it by myself. My dad rented it when it finally came out (still on VHS), and we both loved it. I had never seen anything like it, I didn’t know what a White Russian was, but one thing was clear: The Dude definitely abides. I felt that tingly feeling in my gut, and I knew I was in love with the Coen Brothers.

 

Over the.years, I’ve been able to get my hands on all of their films, even their little known debut Blood Simple (1984). They range from the comically absurd (Raising Arizona, Intolerable Cruelty) to the dark and violent (Fargo, No Country for Old Men). From the quirky drama (The Man Who Wasn’t There, Barton Fink) to adaptations of Greek literature (O Brother, Where Art Thou?). They’ve been nominated for 8 Oscars (winning 4), 5 Golden Globes (winning 1) and 10 nominations over the years at Cannes (winning 4).

 

In a nutshell, they are freaking amazing.

 

Most people will tell you that, No Country for Old Men aside, O Brother, Where Art Thou? Is the best Coen film. This is debatable, but it is very well done. Only Joel and Ethan could adapt Homer’s Odyssey, set it in the 1930’s dust bowl, and turn it into a chain-gang escape film. They even use an old-timey soundtrack while the three heroes are being seduced by sirens, fighting the Cyclops, and running from the lawman.

 

A lot of directors have a trademark. Music, certain cinematography techniques, casting, dialogue, etc. The Coen’s trademark? Tonality. They generally have every cinematic element in place, everything is cohesive and well crafted. But what makes a great director (or in this case team) is the intangibles. Those things that, be it a comedy, a drama, or a political thriller, maintain that indescribable air that lets you know this is a Coen Brothers’ film.

 

It also doesn’t hurt to have familiar faces throughout the resume. Steve Buscemi, John Turturro, John Goodman, George Clooney, Frances McDormand, and Bonnie Hunt have all shown up in multiple Coen projects. But it’s also the familiar faces behind the scenes. Carter Burwell has been the composer in almost all of the Coen’s films, and he’s done a great job. Roger Deakins has been on board as cinematographer since Barton Fink (1991). Production Designer Dennis Gassner has also been involved in the bulk of the Coen’s work. And it doesn’t hurt that Joel and Ethan Coen have not only written and directed all of their films, they’ve also edited them (together under the name Roderick Jaynes). The Coen’s haven’t just had an amazing career; they’ve built an empire.

 

I did finally watch Raising Arizona. When I saw my dad next, I said, “My friends call me Lenny, only I ain’t got no friends.” He didn’t get it. So I said, “Don’t fuck with the Jesus.” He hit me with a Bible. He doesn’t understand.

 

Coen Brothers Filmography:

 

Burn After Reading (2008)

No Country for Old Men (2007)

The Ladykillers (2004)

Intolerable Cruelty (2003)

The Man Who Wasn’t There (2001)

O Brother, Where Art Thou? (2000)

The Big Lebowski (1998)

Fargo (1996)

The Hudsucker Proxy (1994)

Barton Fink (1991)

Miller’s Crossing (1990)

Raising Arizona (1987)

Blood Simple (1984)

Leave Comment

Name

Email

Website

Comment