Recidivist hold-up man H.I. McDonnough and police woman Edwina marry, only to discover they are unable to conceive a child. Desperate for a baby, the pair decide to kidnap one of the quintuplets of furniture tycoon Nathan Arizona. The McDonnoughs try to keep their crime secret, while friends, co-workers and a feral bounty hunter look to use Nathan Jr. for their own purposes. Written by
Scott Renshaw <email@example.com>
At the end of the sequence where H.I.'s dream of the lone biker forms into the reality of Mrs Arizona discovering she is one baby short, the camera skims along the ground and jumps a child's bike, a car and then a fountain, before shooting up the ladder into the bedroom. This sequence seems to be a reference to the condensed career of motorcycle daredevil Evel Knievel, who jumped bikes, cars, buses and then spectacularly crashed after jumping the fountain at Caesar's Palace, Las Vegas. See more »
Shadow of camera operator and vehicle while Leonard Smalls is cruising down the highway. See more »
My name is H.I. McDonnaugh. Call me Hi.
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filmed on location in Valley of the Sun, Arizona -- a great place to raise your kids See more »
This is one of those surreal experiences that make you wonder whether or not you laughed at what you saw or what you THOUGHT you had seen. Of course, being concocted by Joel and Ethan Coen makes it even more surreal.
As "repeat offender" H. I. McDonnough, Nicolas Cage creates yet another strange, offbeat character that gets under your skin for days after. After returning to the same prison time after time under the eye of Officer Ed (Holly Hunter), he goes straight and they get married, planning to have a big family. It is only then, he finds that Ed is a "barren, rocky place".
So, what's a couple to do?
This is where the "Arizona" of the title comes in, when they steal one of the quintuplets of the Arizona family. Naturally, the father (Wilson) goes all out to find the culprits, even enlisting the aid of a "tracker" (Cobb), who is kind of an existential bounty hunter with a good nose.
From this deceptively simple story line, the Coens create a dreamscape that is mesmerizing, serpentine, loaded with all matter of visual input, deft one-liners and characters that are so off-the-wall that it's hard to forget them and the situations they get into.
Coen Brother stalwart John Goodman plays yet another flaky loon - this time an escaped con - who, along with his little brother (Forsythe) complain that the prison "had no more to offer them".
Of course, the chases, fight scenes and getaway scenes are elaborate, well-choreographed and exciting, as well as funny. How could they not be? This whole movie is one huge snowball rolling down the side of a mountain, growing larger and rolling faster as it reaches the end of its trip.
But to try and explain this movie is an exercise in futility; you'd be better off explaining Kierkegaard to a room full of second-graders. You just have to see it yourself. If your sense of humor is a bit on the dry side and you love fancy camera work and Fellini-esque characters, it's your kind of movie.
Ten stars and a complimentary pack of Huggies for "Raising Arizona", the best Dadaist head trip film with kidnapped babies, exploding bunnies and Frances McDormand in the desert you'll ever find...that has a fight in a trailer.
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