6/30/02 - 7/06/02: O Brother Where Art Thou

[slade]

This is a thread to discuss the technical and/or thematic merits of "O Brother Where Art Thou?"

The purpose being to foster intelligent discussion of films without resorting to "It's a piece of crap." or "It's the greatest film ever." (And so that we all can gain a bit of a film education from everyone.)

We'll discuss a new film each week. Either morticia or I will post the film in this forum in advance, and lock the topic until the first day of discussion (except in this case, where slade was a complete slacker and actually got it up late--sorry).

Thanks everyone. We are excited and we hope this works (we're open to any ideas of how to make it better).

****SPOILER WARNING**** of course this entire thread is going to be full of spoilers.

One thing that amazes me about this movie is that its soundtrack sold about half a bazillion copies, but there was no resultant spillage over into the bluegrass genre in general with a surge in sales of other bluegrass artists...

In fact I think that this is the only movie that ever inspired a feature length documentary that revolves around its soundtrack (Down from the Mountain).

Somewhat fitting, as the music is the glue that really holds together and unifies this film. Yet I don't think of it as a musical.

[Jellodyne]

The first thing I thought of coming out of the theater was that it practically is a musical. Granted there's a lot of spoken dialog, but the whole thing is absolutely drenched in music. Where is the dividing line between movie with songs and musical? I would argue that if the characters sing and/or dance when they're not on stage or otherwise performing, and if musical numbers advance the plot, then its a musical. The siren scene and the klan rally O Death would seem to meet this criteria. Other scenes with charcaters singing would be the Let's go down to the river baptism scene, the scene with his daughters and of course all the Soggy Bottom Boys scenes, though these scenes involve people on stage or in a situation where they'd be singing in real life. What does everyone think?

[airjosh]

It seems to me that there has been a surge in interest of bluegrass music. In addition to the soundtrack selling through the roof, they have released a cd of music of women bluegrass singers. Additionally, there has been many more rereleases or at least record stores carrying a larger variety of artists in this genre.

I too think the film skirts the line on being a musical. Like a musical, the music was used to drive the plot forward; not just as a part of the movie, but as a plot device.

I also think that very few studios want to promote a musical, even if it is made by the coen bros. The marketing for the movie and the hype/connection with "the Odyssey" already created a potential niche audience, further promoting it as a musical would really have frightened the people putting up the cash. They never denied the musical aspects, but they didn't press the issue too much until it was already a success.

[Bhist]

This movie is all American, great music and heartfelt acting. The film states, at the beginning, that the film is loosely based on Homer's, "Odyssey". In an interview, the Cohen brothers stated they have not read Homer's poem. This makes a lot of sense when one remembers that the tag line for "Fargo" states the film is based on a true story; the Cohen brothers later said it is a fictional story.

With that said, I have to say that I believe "Oh Brother..." is loosely based on the movie, "The Wizard of Oz."

Think back on these scenes and characters:

The bounty hunter is really the wicked witch. When they rescue their friend from the KKK, the scene reminds me of the scene when the Tin Man, Scarecrow and Lion rescue Dorothy from the witch's castle. All scenes on the road in "Oh Brother..." are tinted a yellowish color; hence follow the yellow brick road. The three characters led by Clooney are not seeking a treasure, but the Wizard to give them a pardon and that Wizard is the Governor. The flood near the end of the film is an analogy to the Tornado. Floating by are old tires, a dog and other items.

Next time you watch "Oh Brother..." think along these lines and you'll probably find more references to the "Wizard of Oz."

[dvds'r'us]

Did you know, I alwayz thought it was George Clooney until I bought the dvd, then figured it out! Man, I alwayz though George had a fabolous voice. Beautiful! I'd still like to hear him sing it, is their a recording somewhere?

[MrTony]

Sorry, dvds'r'us. They did record Clooney singing, but after they heard the tapes, decided to go with him lip-synching. In fact, rumor has it that Clooney hated the sound of his voice so much that he returned to the recording studio to personally oversee the destruction of the tapes.

The last time I watched this movie, the theme of faith occurred to me. At the baptism scene, Ulysses (Clooney) chides his two companions for subscribing to religious beliefs. At the end, when confronted with near certain death at the hands of the bounty hunters, he turns to God and asks Him to save him. After the flood comes and they are left alive, Ulysses writes the whole thing off with a rational explanation, rather than facing the possibility that a higher power was at work.

[airjosh]

bhist-

Even without reading The Odyssey, there are elements used thematically that call back to the poem. For example, the cyclops, sirens, and the journey back from being otherwise engaged for many years (war/prison).

Your comparison to Oz is great, i don't know if anyone would ever fess up to it, but it should lead to grand discussions for decades, ala Pink Floyd's connection with the film.

[SolidSnakeASS]

I found the digital processing of the film on of the most enjoyable aspects of the presentation as a whole. The hue and saturation of the colours resulted in a palette that I felt really captured the look of not only the decade but also the place and season. It is a wonderful technique, and while some may say the Coens have been going after 'gimmicky' appearances of late, I think they have been bold and interesting.

[WhipSilk]

I agree that the movie's palette was one of the elements that made the movie stand out for me...the only other film that has such a strong sense of palette is another Film Class film -- The Matrix.

But, sorry, Bhist, I can't agree with you on the Oz parallels. What's the magical land? (surely not Mississippi -- okay, I'll grant you that prison could be the farm and freedom Oz). You found some intriguing parallels, but there are just as many non-parallels -- Emerald City, the Munchkins, Glinda, awakening from a dream, the value of fantasy. In addition, the structure is simply different. In Oz Dorothy is the protagonist, and she's joined by others as her journey progresses. In O Brother, there are really three protagonists who start out together. Finally, although they achieve a pardon by the Governor, that isn't their "quest" -- which truly IS treasure. The blind oracle even makes this clear when he tells them they will find something they do not seek.

Now I'm a genuine Coen fanatic, and I loved O Brother... Frankly, I don't think it needs a label like musical or drama-with-music. To quote one of my boss's favorite phrases, "It is what it is", which to me is a completely engaging fantasia on The Odyssey and a thoroughly entertaining movie. The various parallels are Cliff's Notes obvious; it really doesn't matter to me that the Coens had never read the poem -- they took what they needed from some foggy (?) recollection of the various episodes.

And the acting? Oh my! Clooney is magnificent (will I be shot if I say this is the ONLY movie I've seen in which George Clooney is even tolerable to me?). He's matched by Coen favorite Turturro and the ineffably sweet Tim Blake Nelson. They're the triple suns around which the other satellites revolve -- only Durning comes across as "actorish", and it mars an otherwise nearly perfect film.