Charming is a word I’d never thought I’d use to describe a Coen Brothers film, who previously have treated us to such violent extremities as bodies being jammed into wood chippers, and pneumatic cattle guns pulverising foreheads. O Brother Where Art Thou? Is on the surface a simplistic comedy/adventure story, but in true Coen Brothers fashion, nothing is as it seems.
O Brother, Where Art Thou is set in Mississippi, 1937, as the Great Depression nears its end. George Clooney plays Ulysses McGill, a scheming, energetic criminal who flees the roadside as prisoners smash rocks. Unfortunately for him he’s chained to two dim-witted co-escapees, and even after the chains are off they stick together to find the loot Ulysses buried before being prosecuted.
The film is partially based on Homer’s epic Greek poem, Odyssey, and many of the famous episodes from it have had a typical Coen twist of character and quirk to fit with the different time, space and the sensibilities associated with the Depression-era South. Instead of the monstrous Cyclops, there’s a boisterous, deceptive one-eyed bible seller. The allusions to Odyssey are expertly weaved, avoiding indulgence and not seeming forced. Each character and situation seem to naturally belong in the world the Coens create, like The Big Lebowski and Fargo, the bizarre universe of O Brother is full of human behavioural traits and actions we can recognise, but still laugh at the ridiculousness of.
There are references to other cultural tales, Tommy Johnson, a blues musician in the film claims to have perfect guitar skills after selling his soul to the devil, a reference to real life urban legend of blues musician Robert Johnson doing the same in return for a mastery of the guitar. Even the title is based upon the film-within-a-film from Preston Sturges’s Sullivan’s Travels, the director in the film wishes to make a Depression-era stark-realistic drama but gradually realises that a comedy would be much more beneficial. Conversely in O Brother the mood of the period is one that in theory wouldn’t lend to the comedic material the Coens devise, one of the bleakest points in American social history is somehow reworked into a time of vibrancy and assorted excitement.
Mythology in all its forms is both an important influence on the narrative, and a plot point in itself. Ulysses, his jail buddies and the blues musician record a version of “Man of Constant Sorrow” for a radio station after hearing they can make some quick bucks from just “singing into a can”. The song travels fast through the state of Mississippi and the mysterious “Soggy Bottom Boys” are a hit. The mythology surrounding them brings people together in speculation and idolisation, so when they show up on stage at a dinner party the crowd goes wild. Even the politicians get in on it, as the running candidate for governor jumps on stage and dances along to help his failing campaign. The Coens both celebrate and explore the power of myths, of legends and word-of-mouth on our culture.
I earlier referred to this film as charming, which is a clear understatement considering how hilarious, uplifting and exciting this film is. But charm is appropriate too, due to one of the best uses of music in recent years. The bluegrass/folk music is at the core of the films ever-changing mood, and vital to expressing each varying episodes’ tone. From the opening scene of prisoners singing as they smash rocks, the unified beat provided by their labour, we know that music going to be important in the film. George Clooney excels himself as Ulysses McGill, providing excellent comedic timing while playing off his two sidekicks with quick wit and guile. Who knew George Clooney was such a funny performer? The physical comedy is done wonderfully too, as in the scene with Ulysses taking two punches in quick succession, Clooney widens his eyes and flits his head to the side twice to shrug off the punches as he circles his opponent. The rest of the cast are all impressive, providing another amusing array of Coen caricatures. Forming a delightful comedy trio with Clooney are Tim Blake Nelson and John Turturro, the group has masses of chemistry – The film could simply be the three arguing for the entire duration and it would be just as funny. Even with the quick-paced plot, the two supporting performers give the characters personality and depth.
It’s noteworthy that this is the first film in Hollywood to be entirely colour-corrected digitally. The film has a distinct, sepia-toned hue, reminiscent of old photographs, framing the landscapes in the period of the great depression, immersing us in that old lost time. O Brother, Where Art Thou? is a unique film in the Coen’s canon, never have they made such a purely joyous film – and they may never again. But for now, O Brother is deservedly up there with their best.
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