In future Britain, charismatic delinquent Alex DeLarge is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
When "The Dude" Lebowski is mistaken for a millionaire Lebowski, two thugs urinate on his rug to coerce him into paying a debt he knows nothing about. While attempting to gain recompense for the ruined rug from his wealthy counterpart, he accepts a one-time job with high pay-off. He enlists the help of his bowling buddy, Walter, a gun-toting Jewish-convert with anger issues. Deception leads to more trouble, and it soon seems that everyone from porn empire tycoons to nihilists want something from The Dude. Written by
Nearly all of the visible symbols in The Dude's second dream sequence are taken from earlier scenes: - the black and white tile is seen earlier in the Big Lebowski's entry way when The Dude walks with Brandt and again at the end - the tool belt and workman outfit The Dude is seen wearing is identical to the one worn by Karl Hungus in Logjammin' - Saddam Hussein is mentioned briefly by Walter in the car outside the bowling alley; in the opening credits, we see a man looking a bit similar to Saddam spraying the bowling shoes at the alley - Maude's gold bowling ball bra cups are taken from bowling balls seen on the rack behind Walter in an earlier scene at the bowling alley - the scissors wielded by the red-clad Nihilists are seen in a painting with a red background on Maude's wall - the red-on-black bowling ball is the same as the one in the earlier dream sequence and is also visible on the rack behind Walter and The Dude at the bowling alley. - The initial scene of The Dude's exaggerated walking in while casting a big shadow is similar to his landlord's shadow dance to "Pictures at an Exhibition." - Maude Lebowski's trident is from a statue at The Big Lebowski's home. See more »
When The Dude is at Jackie Treehorn's and he rubs the pad of paper with a pencil revealing Treehorn's drawing of a naked man, The Dude tears the page off the pad and quickly crumples and shoves the paper into his pocket. Later while in the Chief of Police of Malibu's office and the Chief is going through The Dude's wallet, the same paper he tore off of Treehorn's pad is neatly folded in the wallet, with no sign of previous crumpling. See more »
Way out west there was this fella... fella I wanna tell ya about. Fella by the name of Jeff Lebowski. At least that was the handle his loving parents gave him, but he never had much use for it himself. Mr. Lebowski, he called himself "The Dude". Now, "Dude" - that's a name no one would self-apply where I come from. But then there was a lot about the Dude that didn't make a whole lot of sense. And a lot about where he lived, likewise. But then again, maybe that's why I ...
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It's a travesty that most critics only read The Big Lebowski at its most superficial level and called it a modern take on a Raymond Chandler potboiler. I simply can't begin to perceive how one could sit down in front of this cinematic pop-poetry, as it plates gold on the silver screen, and not feel so incredibly alive. The dream sequence Busbee Berkley musical numbers are unique and awe-inspiring; the humor is rich, subtle, and clever in the way it satirizes politically correct arrogance; the free-flowing story avoids (even pokes fun at) nonessentials like plot points and pay-offs. But what really makes this film such a masterpiece, such a panacea, is the incredible humanism, the care that the Coen brothers put in developing The Dude (Jeff Bridges), Walter (John Goodman), Donnie (Steve Buscemi-tremendously endearing), and Brandt (magnificently played by Phillip Seymour Hoffman). Looking at the films use of Sam Elliott to play The Stranger, who constantly rambles about the many wonders of The Dude (among other things), it is clear that the film is an ode to a Dudist way of life. And in a time where so many film promise that they have the answer to the worlds problems and end up as slick, stylistic show-off films, what more could one ask for than a good-hearted film like this? Not to mention the performance by Jeff Bridges, which ranks among the best performances of the nineties; he has a relaxed slouch, a goofy smile, an enthusiastic dance, and his buttons can only be pushed by Walter, who John Goodman plays with charm and fury. The Coen brothers have always been considered 'cold' filmmakers, but there is nothing here but warmth and humanity (as is the case with the Coens' Fargo). What we have here is one of the greatest achievements in modern cinema and if you can't see that, grab a White Russian, hit the bowling ally, and find your inner-Dude as soon as possible.
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