Final Film Critique: O Brother, Where Art Thou? Robert L. Forbes ENG 225 Film: From Watching to Seeing. Instructor Ebony Gibson April 29, 2013

Final Film Critique: O Brother, Where Art Thou? Everyone likes to laugh, and this film is no stranger to the call. O Brother, Where Art Thou is indeed a comical action/adventure and musical romp Directed by Joel Coen and Produced by Ethan Coen. The Cast consist of many favorites in film such as George Clooney, John Goodman, Holly Hunter, John Turturro, and Tim Blake Nelson. The film O Brother, according to well-known film critic Roger Ebert (2000), “is based on Homer’s The Odyssey” (p.1), this is an epic Greek poem around 700 B.C. Although the setting is much different, the Homeric journey of three would be prisoners of the late 1930s are similar to The Odyssey and its theme of perseverance. The movie O Brother, Where Art Thou however has a comical twist accompanied by great Gospel/Bluegrass music, and scenes that play into an allegorical concept including references to repentance and salvation during the depression of that era. The storyline in this movie the collaborating efforts of the Coen brothers and cinematographer Roger Deakins bring together a musical and adventurous comedy filled with action. This story depicts an era in time where ignorance, poverty, and racism are prevalent among the effected in the rural South in the late 1930s. However, the comical twist and the characters acting skills make this story of a complicated journey filled with obstacles into one of the funniest reenactments ever produced. George Clooney, who plays Ulysses Everett Mcgill, is the main character and protagonist accompanied by his dimwitted sidekicks Pete (John Turturro) and Delmar (Tim Blake Nelson). The three men following a breakout from a penal farm run from the Warden throughout this film. However, it would seem that the main antagonist is society in itself because of the many unfortunate situations presented in their journey. For example, John Goodman who plays the corrupt bible sales man all but knocks Everett and Delmar out, and the siren sisters that kidnap Pete to turn over to the Warden for reward money and leave Delmar to believe they have turned him into a toad (perhaps a metaphor for Pete’s lustful disobedience). The films plot structure follows what Goodykoontz & Jacobs (2011) describe as “A classic five act structure [that] may be more formally organized into fairly equally dived sections of exposition-development-crisis-climax [and] resolution” (chapter 2.2). Additionally, the film plot follows what Goodykoontz & Jacobs (2011) explain as “chronological order, which means that events in the movie’s plot follow the same order” (chapter 2.2). However, as the plot narrates the story, each individual scene during the journey is not entirely expected. For example, the three men hitch hiking are picked up by would be bank robber Baby-face Nelson played by Michael Badalucco and inadvertently rob a bank. This takes place subsequently after baptismal at the riverside when Pete and Delmar claim to go the straight and narrow and professing repentance that was a popular Christian movement at this time in Mississippi during the depression. The characters portrayed in this film by the various actors were an amazing and wonderful with their performance adding to the mise-en-scene telling the story of the cultural environment and era of history. The appearances and facial expressions along with their dialogue were symbolic to the stories theme and setting relating society of the era. Additionally, George Clooney who is a well-known actor for his character the captain in The Perfect Storm, a con man in Ocean’s Eleven, and even a comic book hero in Batman and Robin could classify him as the perfect “wild card actor” for this role in O Brother, Where Art Thou. A wild card actor is according to Goodykoontz & Jacobs (2011),”an actor who is difficult to classify as one certain type, often because he or she can play a wide variety of characters equally well without becoming typecast”(chapter 3.4). Clooney plays a somewhat smarter character than that of his friends; however, some could say just as naïve, his role as the agnostic turned believer when he falls to his knees at the end of the movie brings a strong message and symbol of repentance and salvation to the audience. The director of photography, Roger Deakins, who was nominated for an Academy Award for best in cinematography, collaborated with the Coen brothers making it a box-office hit. According to Goodykoontz & Jacobs (2011), “[his] job is to translate the director’s vision for the film, to capture what the director wants to see and say, and physically make that happen” (chapter 4.2). This is exactly what he accomplished in the movie by proper lighting, effective framing of the mise-en-scene, and special attention to filming choreographed special effects. Additionally his use of color, especially the golden hue used for the film along with the desaturated colors of costumes gave the audience that feel of the era depicted in the 1930s filmmaking. Goodykoontz & Jacobs (2011) easily explain this “Lighting design, color manipulation, and special effects are just three of the many tools a cinematographer has at his or her disposal” (chapter 4, summary). Editors Roderick Jaynes, and Tricia Cooke brought forth the best shots and performances that according to Goodykoontz & Jacobs (2011) “enhance the themes of the story and ensure the audience can follow what’s going on” (chapter 5.2). Even though most of the transitions made from scene to scene were “direct cuts” pieced together, a few shots where fade-in and fade-out, which is explained according to Goodykoontz & Jacobs (2011) “are often used at the beginning and/or end of a scene or sequence” (chapter5.3). Moreover, to enhance the effect of filmmaking in this era, the iris technique was used several times fading from one scene to another much like what was typical in films of the 1930s. Additionally in the second to the last seen it is clear that the editor used what is called a “jump-shot” when Clooney’s house washed away, accelerating the scene to what could be a symbol of the past becoming a new, and representing the religious thematic storyline involving repentance and salvation. Moving on, the use of sound in this movie, music, dialogue, and special effects happened to be the biggest attribute in the motif to many moviegoers. The music score, the soundtrack, and the quirky slang used added not only to the amusing characters roles, but clearly gave the audience a feeling of being in the movie at the specific time in history. Whereas gospel music, old time slang, and yes, even when Tommie-guns where used in a classic car chase scene gave a Bonnie and Clyde motif. The soundtrack from this movie was as popular as the movie itself, staring such music artists as Alison Krauss, Emmylou Harris, and the unforgettable thematic song “Man of Constant Sorrow” preformed by Dan Tyminski and the Soggy Bottom Boys. Additionally, the special sound effects made post-production added to the visual effects in a way that the audience would think it was in continuous time. Moreover, some of the songs added gave a great symbolic reference to Christian beliefs in repentance and salvation of that era. The directing and style of the Coen brothers although criticized for making light of racism and religion in this historical era of the 1930s, have always been known for a sense of realism in their dialogue. Their style which is defined by Goodykoontz& Jacobs (2011) as “a personal style that distinguishes their work from others” (chapter7, summary), is purely motivated to entertain audiences. This style and their use of other films and literature in parodies and unconventional mismatch of semi- historical music and language sets them apart. Additionally, as quoted by Oxoby (2001), “The incorporation of American myths and folktales suggests that in the end the myths of America are every bit as interesting and worth wild as those of Archaic Greece (or of any other culture for that matter)” (p.71). Additionally, for the Coen brothers to purposely make light of social and cultural troubles in historical times does not mislead the audience, mainly because the audience the Coen brothers draw to their films know already their style and enjoy the entertainment. Moreover, directors and screenwriters have produced for age’s movies that exploit culture and religion However their style according to Seeley (2008),”Comedy is thus the sweet coating that helps the bitter pill go down”(p. 99). Laughter is an identifiable trademark of good entertainment and the movie O Brother, Where Art Thou is an undeniable good feeling movie about the depression era that combines adventure, religious undertones, and parodies of cultural racism that will make anyone with a sense of humor laugh aloud. Additionally, Toscano (2009) states “Whether we are examining O Brother as an example of the way minorities need to reclaim cultural memories to define their identities, or whether we are enjoying the film as a masterfully funny pastiche, the film allows us to participate in the on-going remaking of folk histories” (p.8). Moving on, to evaluate what type of genre the movie O Brother, where Art thou is categorized. Roger Ebert (2000) review states “Action, Adventure, Comedy, and Musical” [with] bluegrass music […] at the heart of the film (p. 1). However, as best described by Goodykoontz& Jacobs (2011), “musicals, like any genre films, do in fact also lend themselves to analysis, that can provide much insight into the psyche of their times and the personalities of their creators” (chapter 8.2). Therefore, a safe category for the genre would be to say its musical comedy with a subgenre action/adventure. While comedy seems to be the mainstream, it would be additionally beneficial to the viewer to notice the crossover of genres including gangster and fantasy. Moreover, recognizing the use of Christian metaphors that typically follow an epic or mythological genre since the movie has referred to be adapted from the epic poem The Odyssey. Notably, throughout this film critique, the analysis used according to Goodykoontz & Jacobs (2011), is “[a] structural approach [which] is similar in some ways to a formalist approach, as it examines the film’s structure and how the constructions of scenes and shots tell the story, but digs deeper to find meaning”(chapter 10.3). This is particularly true because of the allegorical context of this film, whereas moral, historical, social, and spiritual are symbolized throughout the film. Additionally, large groups of critics who have reviewed this film have used this approach to analyze this film. For example, Spiro (2008) states, “the real object of their mockery is the notion that any film can be expected to address social and/or political concerns […] the Coens are conscientious about how and why their films send the messages they do. In fact, most Coen films, particularly Barton Fink and O Brother, Where Art Thou? directly address the social responsibilities of the artist, the “popular” artist in particular” (pp.1-2). Every aspect of cinematography, directing, and editing in this film is symbolic to moral, cultural, and social change, with the main symbolism towards Christianity. Subsequently, to elaborate on a thematic evaluation of this film, O Brother, Where Art Thou? covers in theme a concept of allegorical works toward social, historical, and spiritual references in the depression era of the 1930s. Goodykoontz & Jacobs (2011) describe allegory best as “A metaphoric, symbolic story or passage in a story [or film] that tries to teach the audience a lesson by association” (Glossary). Additionally, this representation of theme is through what Goodykoontz & Jacobs (2011) call “explicit content […] as the term implies, is explicitly stated in the film, whether by a superimposed title, a voice-over narrator, or dialogue [as in this case] that comes from the mouths of the characters in the film” (chapter10.2). However, once again, this film from the religious innuendos from the title O Brother, Where Art Thou, to specific scenes, props, and music, the audience can easily identify religious implications to a theme and for the most part Christianity. In conclusion, the film O Brother, Where Art Thou is a necessary see if you have not yet had the pleasure. Every element of technology in filmmaking from the directing, cinematography, and editing is right on task to make this movie enjoyable. Every actor portrayed his or her character in a way that tells a story in a tongue and cheek fashion of what it would be like in the depression era of the 1930s. The music score is an unusual breath of fresh air and different from most comedies, accommodating to those who like old-timey Gospel/Bluegrass. Unfortunately, for some audiences, and criticisms on the frontline of Christian conservatives, the claim of mockery is of great debate because of the satirical and comical portrayal of religious faith. However, if one has an open mind to comedy and can get past a few curse words, minor violence, and mild sexual innuendos, the strong Christian morals symbolizing repentance and salvation in this movie are brilliantly represented.

References
Ebert, R. (2000). O Brother, Where Art Thou? Movie Review. Retrieved from http://www.rogerebert.com/reviews/o-brother-where-art-thou-2000
Goodykoontz, B., & Jacobs, C. P. (2011). Film: From Watching to Seeing. San Diego, CA: Bridgepoint Education, Inc. Retrieved from https://content.ashford.edu/print
Oxoby, M. (2001). O Brother, Where Art Thou? Film & History: An Interdisciplinary Journal of Film and Television Studies, Volume 31(2), 70-72. Center for the Study of Film and History. Retrieved April 24, 2013 from Project MUSE database.
Spiro, J. (2008). ‘You’re Very Beautiful … Are You in Pictures?’: Barton Fink, O Brother, Where Art Thou? and the purposes of Art. Post Script: Essays In Film And The Humanities, 27(2), 62-72. Retrieved from http://web.ebscohost.com.proxy-library.ashford.edu
Toscano, M. M. (2009). Homer Meets the Coen Brothers: Memory as Artistic Pastiche in O Brother, Where Art Thou? Film & History: An Interdisciplinary Journal of Film and Television Studies, Volume 39 (2), 49-62. Center for the Study of Film and History Retrieved April 24, 2013 from Project MUSE database.