The Coens' Golden Fleece: O Brother, Where Art Thou?

When it came to deciding on the next film to write about, I found myself in a bit of a pickle. Waves had left such a lasting impression on me that I could not think of another film that would have such an impact on me. And so, in my hour of need I turned to a reliable source: The Coen Brothers. It may be a bit film bro-y to say but I love the Coen Brothers. Almost all their films are near the top of my favourite film lists. Their films are so consistently brilliant and unique that any one of them is likely to draw that reaction from me. I could (and most likely will) talk abut all of their films that I have seen in immense detail, but for now, let’s focus on the masterpiece that is O Brother, Where Art Thou.

This film came about in a golden period for the Coens. Their previous two films to this one were two of the best of all time in The Big Lebowski and Fargo and you can tell they were really in their stride. They were at the top of their game and it really shows in this film. This is the brothers on a victory lap, effortlessly hitting home run after home run. It would make sense that their next film after Lebowski was a Greek mythology with their Midas touch. The Coens have very specific quirks in their film that let you know you are watching one of their films. An early example of this is Raising Arizona which set the blueprint to what to expect for the rest of their films with its story telling and mannerisms. When they tone those quirks down, you get something like Fargo, very much still a Coen film but more grounded in darkness and reality. However, when they dial up the quirks to 100, you get something brilliant like O Brother, Where Art Thou? This is a testament to the talent of the Coen Brothers.

The obvious starting point of discussion is the concept. It is so, so good. A Great Depression America reinterpretation of Homer’s Odyssey that is somewhat of a musical is quite a lot, but it works like a charm. The settings are not that far apart. The period of depression era America almost does not feel real so the mythical backstory of the Odyssey fits right into the setting. The focus paid to adding a musical element really helps create a feel for the environment through a medium the viewer already has prior knowledge of and really helps sell the viewing experience. The basic plot is that Everett, Pete, and Delmar flee prison captivity in search of buried treasure. The film follows their journey and the scrapes and situations they find themselves in. The mix of mythology, fiction and factual figures is so seamless it creates such a unique tale. What makes it work is that the absurdism of depression era America with the violent, scamming Bible salesman and the KKK helps ground the devil character in that world and make him seem possible. The extreme religious belief shown in the baptism scene and the desire to be saved from the terrible situation the population has found themselves in bares a remarkable and almost certainly purposeful contrast to the sirens. Delmar goes into the water following the hymns of the believer, entranced, following a desire to be saved. Now compare this to later when the three leads are tempted into the water by the sirens, following lust, a sin. This then leads to the seedy side of the scheming and violent nature of the times with Big Dan the Bible salesman that lies, cheats, and beats his way through his scene. Then quickly follows lashings from the devil, the KKK and corrupt politicians that only care about power. A lot of heavy themes are covered by this film, but the way it is satirised allows them to highlight the issues of the time but in keeping with the goofy and outlandish tone that is set up from the beginning. The grave digging scene would not be out of place in a film with a lot more gravitas, and yet is almost immediately followed by a cow on the roof of a barn in a flooded valley. That’s what makes the Coens a step up above other film makers and show how they have transitioned so well across genres: they can hit all emotional beats as good as anyone can.

What makes this film work so well is that everything is as absurd as possible. From the main characters to the plot, to the music, to those fake beards on the soggy bottom boys, this film is so ridiculous and so much fun. It helps that the main three characters buy into this, with their heavy accents and exaggerated expressions (George Clooney and his eyebrows were born to play this role) really setting the tone and they all have such great chemistry. All the supporting characters are fantastic as well, every one of them is so cartoonish and exaggerated but never cross the line in to overacting. A great couple of examples of this are George ‘Babyface’ Nelson and Homer. These are both larger than life characters with exaggerated mannerisms, and in Homer’s case an incredible accent, that fit right in with this world the Coens have constructed. It means that these performances that would stick out like a sore thumb in any other film, fit right in. every actor is on the same page, and it creates a wonderful chemistry between each character.

A special mention must go the music though. This is a great film on its own but what tips it into amazing is the soundtrack. The Hymn from the baptism scene is genuinely mesmerising and sounds angelic, it matches the scene perfectly. However, the star of this show must be the man of constant sorrow. The second I heard that first note exit (well… not really but it is a fantastic lip sync) Everett’s mouth I was hooked. I am so glad that showstopper got the grand ending performance it deserved. It was Kanye West that famously said his only regret in life was not being able to see himself perform; I feel the exact way about those Soggy Bottom Boys. There rest of the soundtrack is selected with such care as well that really suits the time and tone of the scenes that it creates such an incredible atmosphere.

It would not be a Coen film without some incredible writing. Although not on par with their wittiest and funniest in Lebowski, the humour and wit in this film is razor sharp. Constant bickering of the three run aways, the r-un-n-o-f-t gag and that whole scene in the barn with Pete’s cousin and the pig is hilarious from the second they step foot on the property until they kick the pig and kid to the curb. The Pete getting turned into a toad sequence and eventually finding him in the cinema is a personal highlight. But this film is bursting with wit, the jokes are almost fighting, wrestling amongst themselves to seize the scene there are so many of them. They come at such a fast pace its hard to pick a favourite and repeat watches will bring an unnoticed gag to the forefront. Up until my last watch I had no idea how funny the phrase ‘gopher Everett?’ could be.

This is a hilarious film that is often overlooked in the Coen’s catalogue. If you are a fan of their work and have not watched it you should be kicking yourself, because this is a gem up there with their Crown Jewels. If you have watched it I encourage you to watch it again because it almost gets better with every view. And if you have never watched a Coen Brothers film and quite fancy dipping your toes, this is the perfect place to start before tackling some of their more acclaimed work.