I realize this movie came out 18 years ago, but I wasn't on IMDb then. Did IMDb even exist? I don't know. But as I'm sitting in the barbershop right now, this movie is being played on the tv right now, and I'm reminded how much I love this movie. In my opinion, one of the best comedies ever made. I know it's not for everyone (I have friends who hate it), but it's a classic to myself and some others I know. Excellent writing and acting.
1,096 Reviews
"...it's a fool that looks for logic in the chambers of the human heart."
classicsoncall3 March 2012
Warning: Spoilers
I get just the biggest kick out of this picture. So much so that I regularly listen to the film's soundtrack and have been inspired to memorize the words to 'The Big Rock Candy Mountain". That song singularly captures the whimsical nature of the picture, and prefaces the adventurous escapades of our hero trio - 'In the Big Rock Candy Mountain, all the jails are made of tin, and you can walk right out again as soon as you are in.'
Not being a fan of George Clooney, I thought he did an exceptional job here as the nominal leader of the chain gang misfits that make a break for it on the road to fame and fortune. It's only later that we come to realize that Everett's quest is really to reunite with his wife and kids, and dispel the notion that he was hit by a train. Clooney's given all the best lines by virtue of his good looks and snappy delivery, and his 'dumber than a bag of hammers' line is one I'm apt to use from time to time myself.
So everyone knows by now that the story is based on Homer's 'Odyssey', but I haven't heard anyone yet make a connection to one of my favorite childhood films. Remember when Everett, Pete (John Turturro) and Delmar (Tim Blake Nelson) pop up over the hedge and join the procession at the Klan rally. Wasn't it oddly reminiscent of "The Wizard of Oz"? The only thing missing was Delmar trying to tuck a tail underneath his robe. And say, didn't Pete look a lot like the scarecrow?
To sum it up - good story, cool characters, witty dialog and a great musical score make this a favorite of mine, and probably the first Coen Brothers film to get my attention enough to seek out their other pictures. This one though is the one I'll keep coming back to watch again and again, it's that entertaining.
Not being a fan of George Clooney, I thought he did an exceptional job here as the nominal leader of the chain gang misfits that make a break for it on the road to fame and fortune. It's only later that we come to realize that Everett's quest is really to reunite with his wife and kids, and dispel the notion that he was hit by a train. Clooney's given all the best lines by virtue of his good looks and snappy delivery, and his 'dumber than a bag of hammers' line is one I'm apt to use from time to time myself.
So everyone knows by now that the story is based on Homer's 'Odyssey', but I haven't heard anyone yet make a connection to one of my favorite childhood films. Remember when Everett, Pete (John Turturro) and Delmar (Tim Blake Nelson) pop up over the hedge and join the procession at the Klan rally. Wasn't it oddly reminiscent of "The Wizard of Oz"? The only thing missing was Delmar trying to tuck a tail underneath his robe. And say, didn't Pete look a lot like the scarecrow?
To sum it up - good story, cool characters, witty dialog and a great musical score make this a favorite of mine, and probably the first Coen Brothers film to get my attention enough to seek out their other pictures. This one though is the one I'll keep coming back to watch again and again, it's that entertaining.
Master Storytellers
Hitchcoc24 February 2006
Those Coen brothers' movies really do grown on you. I had just seen Fargo when I rented this. It is one of the most creative, off the wall films I have ever seen. As these characters bumble their ways after a prison break, they are embraced by a series of the most unconventional personages ever to hit filmdom. And one gets turned into a frog--sort of. their flirtations with fame, the Klan, a cyclops, and all the other episodes, make this a hilarious romp. George Clooney's Ulysses is an obsessive, full speed ahead, damn the torpedoes, coupled with the charming half-wittedness of his fellow travelers, works at every level. Like Greek poetry, he is butting heads with the gods, but despite setbacks, keeps moving. It is story telling with charm and a load of bull. Everyone is some kind of philosopher, but the words come out of gap toothed, shaved headed hillbillies. And, of course, Clooney has hell to pay. I could watch this over and over again. And then there's the really cool music. I didn't even mention that!
This film brought back memories.
wilma191327 June 2003
We lived through the depression and related to some of the conditions portrayed. We have watched it perhaps a dozen times. Each time we see it we pick up on something we had missed because we were still laughing at, or discussing, an earlier scene or line. The entire film was a collection of photographically great faces. We are still asking ourselves whether the entire cast were professionals or whether some were individuals found on location. The film was rich with subtle tie-ins like the children tied together with twine, as the prisoners were connected by chains. We still think the cow may have been hit unintentionally. Fords of that era had mechanical brakes. The driver of the car may not have been accustomed the longer stopping distances required. The many allusions to Ulysses Odyssey inspired us to do an inter-net search. We found a modern text version and discovered more sly references. We appreciate blue grass and country music as originally American and found it thoroughly enjoyable, along with the authentic "Go To Sleep Little Baby" and "Down from the Mountain." We were emotionally touched by this film because of our age, and find it totally entertaining every time we view it. We are still amazed that someone not of our generation could have captured the essence of that period of United States history.
surprising, refreshing and hilarious
zebra8319 February 2001
Thank goodness for the Coen Brothers. Their success has brought them bigger budgets,but hasn't rid them of their creativity. I had planned on seeing another movie, but it was sold out so I went to this one instead. By the time it began, I had forgotten what movie I was there to see. I was surprised in more ways than one. This movie is hilarious, but they don't make any cheap jokes just to get the laughs. The writing is brilliant, and delivered with great skill by George Clooney (after this, nobody can say he's just a pretty face) and the rest of the cast. It can be appreciated on many levels, whether you remember the Odyssey or not. I can't remember the last time I saw a movie that was this clever. I've seen others I would describe as beautiful, intriguing, funny and charming, all of which also describe "Oh Brother," but this movie reminded me of older seinfeld episodes where all the subplots came together in the end. You can feel that their journey is building up to something, but you can't tell what. And the Coen brothers do not fail us, the end is certainly not disappointing. It's surprising, and ties up all the loose ends neatly, without wearing the story out.
A Serious Comedy with wonderful characters
chucho_wig28 February 2001
The Coen Brothers have truly outdone themselves in this wonderful saga of three escaped convicts. Though it is based on "The Odyssey," the ancient work of Homer, you do not have to have read "The Odyssey" to be able to follow the story. The brothers Coen have woven a tapestry of celluloid and aural delights! The soundtrack is intrinsic to the film, indeed it is as though the soundtrack is the product and the film is wrapping paper. Each character is wonderfully exploited and harkens back to the days of old when films were rich with character actors whose very appearance in the film adds richness, texture and authenticity. George Clooney is magnificent as the grease haired Everett Ulysses McGill, a honest con on the run whose pompous linguistics and vocabulary are comical and endearing. O Brother, Where Art Thou is easily the best Coen film to date as well as Clooney's best effort. Clooney is good enough to warrant a best actor nomination as is Tim Blake Nelson's portrayal of the dimwitted friend Delmar, while the film itself is deserving of a Best film nod.
Hillbilly hi-jinks. Bluegrass music. Laugh out loud funny!
michaelRokeefe16 February 2002
The Coen Brothers have done it again. Three depression era convicts(George Clooney, John Turturro and Tim Blake Nelson)escape a Mississippi chain gang and head off in search of buried treasure that will fund their new lives. Along the way, they sing on the radio and become much sought after stars as well as escapees. Great laughs and a soundtrack that is a lesson/introduction to bluegrass music.
Clooney is outstanding as the fast talking, quick witted Ulysses Everett McGill. Holly Hunter plays his estranged wife. Turturro and Nelson are flawless stumblebums. Also in the cast are John Goodman and Charles Durning.
Dan Tyminksi provides the singing voice for George Clooney on "I Am A Man of Constant Sorrow", the Soggy Bottom Boys song that serves as a template for the bluegrass laden soundtrack that also features Alison Krauss, Ralph Stanley, The Whites, John Hartford, The Cox Family and Gillian Welch. Toe tapping, knee slapping fun for the whole family. You'll be surprised with how relaxed and funny this movie is.
Clooney is outstanding as the fast talking, quick witted Ulysses Everett McGill. Holly Hunter plays his estranged wife. Turturro and Nelson are flawless stumblebums. Also in the cast are John Goodman and Charles Durning.
Dan Tyminksi provides the singing voice for George Clooney on "I Am A Man of Constant Sorrow", the Soggy Bottom Boys song that serves as a template for the bluegrass laden soundtrack that also features Alison Krauss, Ralph Stanley, The Whites, John Hartford, The Cox Family and Gillian Welch. Toe tapping, knee slapping fun for the whole family. You'll be surprised with how relaxed and funny this movie is.
Pretty darn good
KarlMaldensNose9 October 2001
Having seen most of the Coen Brothers previous films I expected something different and slighty off centre. OBWAT is certainly those things, but it also has a heart as big as..well..as big as Mississippi. It is one of the most plainly enjoyable movies to have come out in recent times, intelligent, well-crafted, clever and superbly acted.
Characters are delivered in their myriad shades by a group of marvellous actors. George Clooney winning me over completely with his Clark Gable-ish looks and character. Having only ever seen him in Three Kings and his Thin Red Line cameo, I am now a fan. More comedy please George.
John Tuturro and Tim Blake Nelson ably assist, especially Nelson. If ever "The Simpsons" is made into a movie then he must be a natural to play Cletus the slack-jawed yokel. I don't think there is a performance that falls short of excellent from the entire cast. My special favorite is Stephen Root as the blind Radio Station Man.
Great old-timey music, a jiggy type dance by Clooney that I am trying to learn, and a feel of depression era southern US enhanced by sepia-like photography make this the best movie I've see so far this century. The only drawback to the film is that it has almost sent me broke buying the soundtrack, the DVD and a DVD player to play it on....it's THAT good!
Characters are delivered in their myriad shades by a group of marvellous actors. George Clooney winning me over completely with his Clark Gable-ish looks and character. Having only ever seen him in Three Kings and his Thin Red Line cameo, I am now a fan. More comedy please George.
John Tuturro and Tim Blake Nelson ably assist, especially Nelson. If ever "The Simpsons" is made into a movie then he must be a natural to play Cletus the slack-jawed yokel. I don't think there is a performance that falls short of excellent from the entire cast. My special favorite is Stephen Root as the blind Radio Station Man.
Great old-timey music, a jiggy type dance by Clooney that I am trying to learn, and a feel of depression era southern US enhanced by sepia-like photography make this the best movie I've see so far this century. The only drawback to the film is that it has almost sent me broke buying the soundtrack, the DVD and a DVD player to play it on....it's THAT good!
Looking for logic where there is none.
bobsgrock29 December 2009
There is a line in O Brother, Where Art Thou? that sums up not just the consensus view of this movie, but also that of nearly every Coen Brothers production. George Clooney says to his chained counterpart John Turturro, "It's a fool that looks for logic in the chambers of the human heart." Indeed, there may never have been a better and more meaningful statement uttered. For that sums up the total outlook Joel and Ethan have given to us ever since their stunning debut in 1984 with Blood Simple.
Although this is not a new concept for them, I think these themes work really well with the setting of this movie, one of the most original in remembrance. Here, we get the story of Homer's The Odyssey set in the 1930s of the American South as three bumbling ex-cons search for a treasure while encountering many obstacles along the way. However, like many a Coen Brothers movie, the plot is just a spot to hang up the arc of the story in order to give way for the really interesting aspects; here being the idiosyncrasies of the characters, the gorgeous wide-screen photography, and the overall crass view of human existence.
Through all this, there is a great amount of fun and joy in this story. Clooney is the fast-talking, slick leader of this weirdly likable trio and despite many believing he is too good looking and polished for the role, I believe that only adds to his repertoire, for this Everett needs to be a fast-talker in order to be taken serious because of his looks. Turturro and Tim Blake Nelson add comic support but also depth with their portrayals of Pete and Delmar, chained to Everett and loyal followers the whole way. Even with the clever writing and shifty characters, there is something of a heart behind this story as well as the typical cynicism of the Coens.
This is certainly the type of movie that grows on you and multiple viewings are needed not necessarily to understand the plot but to capture the tone and message of the movie; if there is one. Still, if nothing else, one can certainly appreciate the intelligent/stupid mixture of humor the Coens are capable of mixing together so well. Clooney, Turturro and Nelson are wonderful in their respectable roles and of course, Roger Deakins perfectly captures the feeling of the old South with his colorful and rich cinematography. Here is a great looking, fast talking, clever movie with not much of a message. With the Coens in charge, what is the problem?
Although this is not a new concept for them, I think these themes work really well with the setting of this movie, one of the most original in remembrance. Here, we get the story of Homer's The Odyssey set in the 1930s of the American South as three bumbling ex-cons search for a treasure while encountering many obstacles along the way. However, like many a Coen Brothers movie, the plot is just a spot to hang up the arc of the story in order to give way for the really interesting aspects; here being the idiosyncrasies of the characters, the gorgeous wide-screen photography, and the overall crass view of human existence.
Through all this, there is a great amount of fun and joy in this story. Clooney is the fast-talking, slick leader of this weirdly likable trio and despite many believing he is too good looking and polished for the role, I believe that only adds to his repertoire, for this Everett needs to be a fast-talker in order to be taken serious because of his looks. Turturro and Tim Blake Nelson add comic support but also depth with their portrayals of Pete and Delmar, chained to Everett and loyal followers the whole way. Even with the clever writing and shifty characters, there is something of a heart behind this story as well as the typical cynicism of the Coens.
This is certainly the type of movie that grows on you and multiple viewings are needed not necessarily to understand the plot but to capture the tone and message of the movie; if there is one. Still, if nothing else, one can certainly appreciate the intelligent/stupid mixture of humor the Coens are capable of mixing together so well. Clooney, Turturro and Nelson are wonderful in their respectable roles and of course, Roger Deakins perfectly captures the feeling of the old South with his colorful and rich cinematography. Here is a great looking, fast talking, clever movie with not much of a message. With the Coens in charge, what is the problem?
It will grow on you
baumer25 January 2001
I have walked out of a Coen movie before and not quite known how to feel. The two best examples of that are The Big Lebowski and Fargo. Lebowski was so ridiculously original and so filled with strange humour that I had to like it. On the other hand, there were some unnecessary reveries with flying people and killer bowling balls that just didn't seem to fit the mold of the film. Still, I liked the film and now own a copy of it. Fargo made me howl with hysterics, sometimes I wasn't sure why I was laughing so hard that it made me cry, but nonetheless I was. There were many seemingly strange characters in Fargo, but upon further investigation, they were really just real people talking about real situations. That is why the man with the shovel ( or was it a broom ) was so side-splittingly funny when he was telling the police officer about some funny looking man down at the bar the other night. And that is also why the theater erupted in laughter when he then says that there are some funny looking clouds coming in. (I own a copy of this film too) The Coen's have a way of masking their film and their characters as being somewhat eccentric and perhaps a little off the wall. But if you look closer at some of those same characters that seem zany, you will always find that in some strange way, they all ring true. That is what is quite exceptional about O Brother Where Art Thou? This is a film that is out there. I mean it is not even in the same ballpark as a traditional film. I reviewed the film Shaft this past summer and in it I said that Shaft was an okay film that I have seen a thousand times before. But you can not say that about a Coen Brother's film and you most certainly can not say that about this one.
This film has everything in it from a jail break, crooked southern politicians, muses, references to what I can only assume are historical figures, riverside baptisms, bank robberies, violence towards animals, singing flocks of religious fanatics, KKK, lynch mobs and so on. There are obviously many references to Homer's Odyssey in here as well, but I wouldn't know that because I have never read Homer's Odyssey or even knew one thing about it. Every other newspaper reviewer seems to know all about it and they think that this cynicism and almost spoof-like quality towards it makes the film that much better. Well coming from a guy who doesn't know anything about it, I can tell you that it is still an entertaining film. There were times when again, as is usual for a Coen film, I wasn't sure why I was entertained or laughing, but I was.
This is a road picture where three men travel along the way to find a hidden treasure that Clooney says he has hidden to his two other cell mates. He has to take them along because they were also chained to him when they had their chance to escape.
I like all the principal actors in the film and many of them are Coen cronies. It was nice to see Goodman again. It was nice to see Hunter and especially Turturro who seems to have a place in every Coen film. It's too bad they didn't find a place for Steve Buscemi but that is a different story all together. But back to Clooney. The man just has charisma. He is a one hell of an actor as well and here he is not quite as zany as the others but even he has his own idiosyncrasies. His work here is quite awesome and I really hope this shows that he is capable of playing any range of character.
Now after heaping all this praise on the film, let me just say this as well. I didn't really enjoy the film at first. I found it to be quite tedious and a little boring. There were too many ideas in here and not enough care went into harnessing them for all what they were worth. But then the film began to grow on me. It took a while but it did grow on me. I don't think this is their best film, but it is still a good one and I am giving it a 8.5. But the reason that I do recommend this film is for one reason only.
Every day you can go look into the paper and look at the films that are playing and say to yourself, seen it, seen it, oh, seen it last year, that is the same as this film and that is the same as that film. Most films have been recycled in some form or another. Not the Coen's films. They have not been recycled and if they have I don't know about it. That is reason enough to see something that they put out. Originality counts for a lot in my books. The Coens are original and they are good. And that is not common in todays cinema. Enjoy them while they are allowed to make films. Because you don't get vision like this in many films, so when you do, enjoy it!
This film has everything in it from a jail break, crooked southern politicians, muses, references to what I can only assume are historical figures, riverside baptisms, bank robberies, violence towards animals, singing flocks of religious fanatics, KKK, lynch mobs and so on. There are obviously many references to Homer's Odyssey in here as well, but I wouldn't know that because I have never read Homer's Odyssey or even knew one thing about it. Every other newspaper reviewer seems to know all about it and they think that this cynicism and almost spoof-like quality towards it makes the film that much better. Well coming from a guy who doesn't know anything about it, I can tell you that it is still an entertaining film. There were times when again, as is usual for a Coen film, I wasn't sure why I was entertained or laughing, but I was.
This is a road picture where three men travel along the way to find a hidden treasure that Clooney says he has hidden to his two other cell mates. He has to take them along because they were also chained to him when they had their chance to escape.
I like all the principal actors in the film and many of them are Coen cronies. It was nice to see Goodman again. It was nice to see Hunter and especially Turturro who seems to have a place in every Coen film. It's too bad they didn't find a place for Steve Buscemi but that is a different story all together. But back to Clooney. The man just has charisma. He is a one hell of an actor as well and here he is not quite as zany as the others but even he has his own idiosyncrasies. His work here is quite awesome and I really hope this shows that he is capable of playing any range of character.
Now after heaping all this praise on the film, let me just say this as well. I didn't really enjoy the film at first. I found it to be quite tedious and a little boring. There were too many ideas in here and not enough care went into harnessing them for all what they were worth. But then the film began to grow on me. It took a while but it did grow on me. I don't think this is their best film, but it is still a good one and I am giving it a 8.5. But the reason that I do recommend this film is for one reason only.
Every day you can go look into the paper and look at the films that are playing and say to yourself, seen it, seen it, oh, seen it last year, that is the same as this film and that is the same as that film. Most films have been recycled in some form or another. Not the Coen's films. They have not been recycled and if they have I don't know about it. That is reason enough to see something that they put out. Originality counts for a lot in my books. The Coens are original and they are good. And that is not common in todays cinema. Enjoy them while they are allowed to make films. Because you don't get vision like this in many films, so when you do, enjoy it!
Great Music, But Drags A Bit
MichaelMRamey21 April 2018
I know I may get a bit of flack because this is a Coen Brothers film and it is an interesting take on The Odyssy, but I couldn't help but find myself checking the clock from time to time. When the film is good, it's really good, but the lulls in between can make this film feel longer than it is.
Masterful...
bigwig627320 January 2001
Not being a fan of the Coen Brothers or George Clooney, anyone can see the skepticism I took into the theater. Once again, someone in Hollywood dares to create something different. This time it was those zanie (for a temporary lack of a better word) Coens doing "their thing" to one of the great works in literary history. Who would've ever thought Homer had this in mind? I don't know where this film is going to fit in the history books of Hollywood, but it will be in both mine and many others DVD or VHS library. It is one of those films that you can watch over and over. The story is brilliantly written. Clean and entertaining, with a couple of Gumpesque brushes with fame, great performances by Clooney, Turturro, Nelson, and a brief but hilarious Holly Hunter. Being born in Mississippi and raised in other parts of the south, I wish more people would poke a little fun at us like this. They even invoke a soundtrack fitting for the rural south. You are NOT doing anything better this weekend, go see this movie!
O Coen Brothers, Where Were You?...
ElMaruecan829 September 2016
Praising a Coen brothers' movie because it has style is like praising an ice cream because it's cold, there's got to be more. "O Brother Where Art Thou" has all the style a fan of the directing siblings can ask for, but a little more substance wouldn't have hurt the film.
Talent is a double-edged sword, the more you prove yourself capable to surprise the viewers, to mesmerize them, to please their eyes and challenge their intellect, the more they expect from your next creation. And after "Fargo", perhaps the most universally acclaimed Coen brothers' movie and "The Big Lebowksy", a bizarre take on the noir genre whose brilliance sprung lately in our minds, came "O Brother Where Art Thou". Watching it, I want to ask the two Coens "O Brothers, Where Were You?" A Coen brothers' comedy is an offer you can't refuse, but there are many ways to play comedy, goofy and borderline-parody like in "Raising Arizona", surrealistic and over-the-top like in "The Big Lebowsky", bleak and engrossing like in "Barton Fink" and "A Serious Man", or dark and atmospheric like in "Fargo", even in the so-called dramatic movies, there was also a few scenes to channel their wicked twisted of humor. But as far as comedy is concerned, the case of "O'Brother Where Art Thou" is puzzling, it obviously tries to play on the "Raising Arizona" level with the atmosphere of "Sullivan's Travels" in the background, but the humor never really manages to hit that special chord so that you can follow the story with the confidence that this is going to be one hell of a belly-laugh ride.
And it's even more puzzling because the film actually got the casting right, the first shot with the three fugitives from a chain gang running and ducking in the midst of a cornfield is like borrowed from a 30's cartoon, it successfully sets the tone, something in the line of "Of Mice and Men" and Tex Avery. George Clooney is a 'clowny' version of George crossed with a Clark Gable wannabe, his name is Everett, John Turturro is Pete, a sort of Lenny without the good heart, and Tim Blake Nelson is Delmar, a pint-sized Lenny without the strength, and none of Turturro or Nelson even tries to steal Clooney's thunder, which leaves him enough space to display his comical abilities. But there's not much given to him. For instance, there's one part where Pete asks Everett why he's the boss, Everett proposes a vote. Pete proposes himself so it all comes to Delmar, there's no time for him to come with a funny line, their first encounter: a black blind man driving a handcar on a railway.
And this is only one of the many colorful tropes of the Great Depression era, a time, full of pastoral melancholy immortalized by so great classics, interestingly many road movies: "The Grapes of Wrath", "Bonnie and Clyde", "Bound for Glory", a time made popular through bluegrass music, the sounds of banjo, sepia tones and so many visually appealing details that it's no wonder the Coen brothers decided to venture into this chapter of America and where else than Mississippi could they complete the picture with pies, long railroads, hobos in freighters, a governor who look like the KFC old man and Klan rallies? A Depression film is no depressing premise, not when it is tackled by the Coen brothers and cinematographer Roger Deakings. So what went wrong exactly?
Well, the film is said to be adapted from Homer's Odyssey. While it gives the film a certain edge, it doesn't really add much to the story as the Coen brothers reckoned they didn't read the book, so why handicapping a great premise with a needless framework. Are the Coens so uninspired they couldn't make a story of their own? In fact they did, because nothing really evokes the Odyssey apart from the Sirens' encounter, Penny, the wife, played by Holly Hunter is obviously Penelope, with her knitting habit, but what do they add up besides simply 'reminding' of the Odyssey. Take the sirens part, what does that part offer except from the recognition that they are the Sirens? I believe the film would have been more interesting had they stuck to an original screenplay, with so many great characters, they could. But the film was just so busy loosely imitating a never-read book that it created a series of events, enjoyable in their own terms but so inconsistent that even the resolutions feels a bit artificial and unconvincing.
At the end, we enjoy it for the stars, the atmosphere (some religious moments are haunting), the performances of John Goodman as Bible salesman and governor Charles Durning as Papy O'Daniel and naturally, the defining song of the film "A Man of Constant Sorrow". I would lie if I said the film wasn't enjoyable, every single department is well done but something is lacking in the whole. %aybe if it was made by other directors, we would have been less critical, the fact is the film was made after "The Big Lebowksy" and it just didn't compare. Still, as a minor offering, "Brother' is never as good as when it takes departure from the whole Odyssey's outline and its homage to "Sullivan's Travels", a film I didn't even like in the first place. Maybe that's why I'm so critical?
Nah it's precisely because I have been so admiring of most of the Coen brothers' works that I allow myself to say this one made me a viewer of constant sorrow.
Talent is a double-edged sword, the more you prove yourself capable to surprise the viewers, to mesmerize them, to please their eyes and challenge their intellect, the more they expect from your next creation. And after "Fargo", perhaps the most universally acclaimed Coen brothers' movie and "The Big Lebowksy", a bizarre take on the noir genre whose brilliance sprung lately in our minds, came "O Brother Where Art Thou". Watching it, I want to ask the two Coens "O Brothers, Where Were You?" A Coen brothers' comedy is an offer you can't refuse, but there are many ways to play comedy, goofy and borderline-parody like in "Raising Arizona", surrealistic and over-the-top like in "The Big Lebowsky", bleak and engrossing like in "Barton Fink" and "A Serious Man", or dark and atmospheric like in "Fargo", even in the so-called dramatic movies, there was also a few scenes to channel their wicked twisted of humor. But as far as comedy is concerned, the case of "O'Brother Where Art Thou" is puzzling, it obviously tries to play on the "Raising Arizona" level with the atmosphere of "Sullivan's Travels" in the background, but the humor never really manages to hit that special chord so that you can follow the story with the confidence that this is going to be one hell of a belly-laugh ride.
And it's even more puzzling because the film actually got the casting right, the first shot with the three fugitives from a chain gang running and ducking in the midst of a cornfield is like borrowed from a 30's cartoon, it successfully sets the tone, something in the line of "Of Mice and Men" and Tex Avery. George Clooney is a 'clowny' version of George crossed with a Clark Gable wannabe, his name is Everett, John Turturro is Pete, a sort of Lenny without the good heart, and Tim Blake Nelson is Delmar, a pint-sized Lenny without the strength, and none of Turturro or Nelson even tries to steal Clooney's thunder, which leaves him enough space to display his comical abilities. But there's not much given to him. For instance, there's one part where Pete asks Everett why he's the boss, Everett proposes a vote. Pete proposes himself so it all comes to Delmar, there's no time for him to come with a funny line, their first encounter: a black blind man driving a handcar on a railway.
And this is only one of the many colorful tropes of the Great Depression era, a time, full of pastoral melancholy immortalized by so great classics, interestingly many road movies: "The Grapes of Wrath", "Bonnie and Clyde", "Bound for Glory", a time made popular through bluegrass music, the sounds of banjo, sepia tones and so many visually appealing details that it's no wonder the Coen brothers decided to venture into this chapter of America and where else than Mississippi could they complete the picture with pies, long railroads, hobos in freighters, a governor who look like the KFC old man and Klan rallies? A Depression film is no depressing premise, not when it is tackled by the Coen brothers and cinematographer Roger Deakings. So what went wrong exactly?
Well, the film is said to be adapted from Homer's Odyssey. While it gives the film a certain edge, it doesn't really add much to the story as the Coen brothers reckoned they didn't read the book, so why handicapping a great premise with a needless framework. Are the Coens so uninspired they couldn't make a story of their own? In fact they did, because nothing really evokes the Odyssey apart from the Sirens' encounter, Penny, the wife, played by Holly Hunter is obviously Penelope, with her knitting habit, but what do they add up besides simply 'reminding' of the Odyssey. Take the sirens part, what does that part offer except from the recognition that they are the Sirens? I believe the film would have been more interesting had they stuck to an original screenplay, with so many great characters, they could. But the film was just so busy loosely imitating a never-read book that it created a series of events, enjoyable in their own terms but so inconsistent that even the resolutions feels a bit artificial and unconvincing.
At the end, we enjoy it for the stars, the atmosphere (some religious moments are haunting), the performances of John Goodman as Bible salesman and governor Charles Durning as Papy O'Daniel and naturally, the defining song of the film "A Man of Constant Sorrow". I would lie if I said the film wasn't enjoyable, every single department is well done but something is lacking in the whole. %aybe if it was made by other directors, we would have been less critical, the fact is the film was made after "The Big Lebowksy" and it just didn't compare. Still, as a minor offering, "Brother' is never as good as when it takes departure from the whole Odyssey's outline and its homage to "Sullivan's Travels", a film I didn't even like in the first place. Maybe that's why I'm so critical?
Nah it's precisely because I have been so admiring of most of the Coen brothers' works that I allow myself to say this one made me a viewer of constant sorrow.
Has moments
MartianOctocretr55 July 2006
Earnest effort which achieves some success to adapt the classic Odyssey story to a '30's nostalgia period piece. The adventurers this time are escaped convicts, wandering about the Depression afflicted South bungling their way into trouble.
The greatest strength of the film is the wonderful music soundtrack, effectively evoking not only the era that this is set in, but the spiritual references that run rampant in the film. Besides its value to the tone of the movie, the music is just plain fun to listen to.
What cripples the film is that the characters really aren't that likable. In a comedy, you need that element in order to have fun along with them in their misadventures. Instead, we have a bunch of selfish, arrogant, soulless, mean spirited nobodies who really have no positive points at all. They're not imposing enough to make you hate them either, so it's hard to relate to them at all. They're offered up as clowns, but like people who put clown makeup on and march in parades, they just aren't funny.
Like the story that inspired it, the movie takes these guys on an "odyssey," encountering a variety of symbolic (some even mystical) characters. Everybody is stamped with offensive stereotypes, the operative word being "stupid." People are mocked right and left, and consequently, no one is left being particularly interesting or appealing. The movie doesn't like its own characters, and it doesn't let you like them, either.
Riverside baptisms, beautiful sirens, stolen cars, fistfights, radio preachers, people being whipped with sticks; all are thrown at you in disjointed fashion. Some evoke a few laughs, others confuse or bore you. I did laugh when a nerdy guy beat the snot out of an especially obnoxious lead character. But there were a lot more pointlessly gratuitous scenes; an example: some '30's Dillinger-type guy strafes cows with a tommy-gun. Comedy? Symbolism? No; just mindless violence, which detracts from the intellectual nature of the original source material this story draws upon.
Other adaptations of the Odyssey are much better. Unless you're a George Clooney fan, rent something else. But buy the soundtrack CD; the music is great.
The greatest strength of the film is the wonderful music soundtrack, effectively evoking not only the era that this is set in, but the spiritual references that run rampant in the film. Besides its value to the tone of the movie, the music is just plain fun to listen to.
What cripples the film is that the characters really aren't that likable. In a comedy, you need that element in order to have fun along with them in their misadventures. Instead, we have a bunch of selfish, arrogant, soulless, mean spirited nobodies who really have no positive points at all. They're not imposing enough to make you hate them either, so it's hard to relate to them at all. They're offered up as clowns, but like people who put clown makeup on and march in parades, they just aren't funny.
Like the story that inspired it, the movie takes these guys on an "odyssey," encountering a variety of symbolic (some even mystical) characters. Everybody is stamped with offensive stereotypes, the operative word being "stupid." People are mocked right and left, and consequently, no one is left being particularly interesting or appealing. The movie doesn't like its own characters, and it doesn't let you like them, either.
Riverside baptisms, beautiful sirens, stolen cars, fistfights, radio preachers, people being whipped with sticks; all are thrown at you in disjointed fashion. Some evoke a few laughs, others confuse or bore you. I did laugh when a nerdy guy beat the snot out of an especially obnoxious lead character. But there were a lot more pointlessly gratuitous scenes; an example: some '30's Dillinger-type guy strafes cows with a tommy-gun. Comedy? Symbolism? No; just mindless violence, which detracts from the intellectual nature of the original source material this story draws upon.
Other adaptations of the Odyssey are much better. Unless you're a George Clooney fan, rent something else. But buy the soundtrack CD; the music is great.
Forget Owen Gleiberman's review, this movie's great!
Primate844 May 2002
First, for those of you who don't know who Owen Gleiberman is, he's one of Entertainment Weekly's movie critics. From what I remember reading in his review when "O Brother Where Art Thou?" came out, he said it was just stupid stereotypes and gave it an F. Now that I've actually seen this movie (I got it for my birthday a few months ago), I realize how stupid I was to trust the opinions of a man who also had the nerve to give "X- Men" a C.
"O Brother, Where Art Thou?" is an excellent film in all senses. I'm normally not a George Clooney fan (Until then, the only movie with him I liked was "From Dusk Till Dawn"), but his performance in this film was perfect, and he truly deserved that Golden Globe he won for it. I also really liked the actor who played Delmar. His realistically amusing facial expressions and hilarious lines ("We thought...you was...a toad!")kept me happy all throughout the film. The frightening Sheriff made an effective villain, and the equally intense scene with the KKK rally was really exciting to behold.
The references to the Odyssey were charming and well- done, although I still don't get who George Nelson was supposed to resemble in the ancient Greek story. However, the Siren scene and its aftermath were quite funny, and John Goodman is creditable as the one- eyed Big Dan Teague. Easily one of the best scenes in the movie is when the Soggy Bottom Boys sing "Man of Constant Sorrow". That song quickly brought a smile to my face, and should have won that MTV Movie Award for Best Musical Performance.
So, you can forget about what the "professional" critics at Entertainment Weekly said about it, and just enjoy this hysterical, light- hearted and worthwhile film.
"O Brother, Where Art Thou?" is an excellent film in all senses. I'm normally not a George Clooney fan (Until then, the only movie with him I liked was "From Dusk Till Dawn"), but his performance in this film was perfect, and he truly deserved that Golden Globe he won for it. I also really liked the actor who played Delmar. His realistically amusing facial expressions and hilarious lines ("We thought...you was...a toad!")kept me happy all throughout the film. The frightening Sheriff made an effective villain, and the equally intense scene with the KKK rally was really exciting to behold.
The references to the Odyssey were charming and well- done, although I still don't get who George Nelson was supposed to resemble in the ancient Greek story. However, the Siren scene and its aftermath were quite funny, and John Goodman is creditable as the one- eyed Big Dan Teague. Easily one of the best scenes in the movie is when the Soggy Bottom Boys sing "Man of Constant Sorrow". That song quickly brought a smile to my face, and should have won that MTV Movie Award for Best Musical Performance.
So, you can forget about what the "professional" critics at Entertainment Weekly said about it, and just enjoy this hysterical, light- hearted and worthwhile film.
This movie is BONAFIDE
isiscloud29 March 2008
Warning: Spoilers
The Coen's are excellent at regional movies and letting their characters find their own voice. This one speaks and sings volumes.
From beginning to end, this is my favorite Coen brother movie with Fargo so very close behind. George Clooney is perfect as huckster with a hear Ulysses Everett McGill who leads his merry band of chain gang members through Depression-era Mississippi breaking down racial lines and galloping through the countryside meeting celebrities such as George "Baby Face" Nelson.
After convincing his chain gang mates that he has a treasure hidden away they become targets for sirens, bible salesmen, and KKK members.
Charles Durning, John Goodman, Holly Hunter (who I actually like here) as McGill's long-suffering ex-wife, and more join in.
The soundtrack is just as wonderful on its own as it is in the movie.
Remember: Keep on the sunny side of life.
From beginning to end, this is my favorite Coen brother movie with Fargo so very close behind. George Clooney is perfect as huckster with a hear Ulysses Everett McGill who leads his merry band of chain gang members through Depression-era Mississippi breaking down racial lines and galloping through the countryside meeting celebrities such as George "Baby Face" Nelson.
After convincing his chain gang mates that he has a treasure hidden away they become targets for sirens, bible salesmen, and KKK members.
Charles Durning, John Goodman, Holly Hunter (who I actually like here) as McGill's long-suffering ex-wife, and more join in.
The soundtrack is just as wonderful on its own as it is in the movie.
Remember: Keep on the sunny side of life.
My Favorite Coen Brothers Film
truemythmedia11 September 2019
As I write I find myself wondering why this one gets me laughing so hard and I think it's for a lot of reasons. The first is that there is something hilarious to me about adapting a story like "The Iliad," a Classic (in the Greek foundational principles sense of the word) High Myth Hero's Journey, and setting it in the deep south during the great depression. There couldn't be anything less grand than that.
The other thing I find so funny are the characters. Between the three of them, Everett (George Clooney, "Burn After Reading") Pete (John Turturro, "Barton Fink") and Delmar (Tim Blake Nelson, "The Ballad of Buster Scruggs") are each one of them hilarious on their own but the interplay between them is priceless.
Everett is the fast talking knowledgeable man of the world, always scheming and angling for what will give him an edge. He may be knowledgeable but he's not always right or even trying to be right. He's just trying to get his own way and facts, exaggerations, stories, and quickly spoken half truths are his way of doing it.
Pete is easily out matched by Everett because while he may have a better sense of what is just and looks out for what is fair and right, he is also dumb. As such, Everett almost always gets away with whatever he wants and Pete is left continually frustrated in his attempts to make sure he isn't getting the short straw.
Delmar is dumb as well but sweet. He wants everyone to just get along and is always looking to be helpful. Of course, as Everett, Pete and pretty much any other person they run into is always looking to pull one over on each other, this puts him in the awkward position of never really knowing whose side to be on, since he's on everyone's side.
This trio of silliness leads to some of the funniest back and forth conversations, shouting matches, and name calling I've ever seen on screen.
The last thing that makes this movie really funny to me, and I know this is controversial, is the southern drawl of every character in this film. My Grandmother was originally from Arkansas and while her accent has much diminished over the 35 years I've known her, it was very strong to me when I was younger. I always thought it was funny that she referred to Meijer (a local grocery chain) as 'Maars." For me, a southern accent is both funny and fond when I hear it so I know some people may not get the same feeling from this film as I do but for me it is a perfect combination to go with the themes of the movie.
The themes in this film are certainly Coen Brother classics. The values of brotherhood, family, sacrifice, and hard work, with edges of fate, the supernatural, or karmic justice are ever present in their films but the way they blend it with that southern gospel and dry dust working man mentality cuts through strong in this film. It isn't lost on me that the three leads in this film form a close bond, the film is called "O BROTHER, Where Art Thou," and it was directed by the Coen BROTHERS. As a brother myself I can attest to the spirit of camaraderie that can form between siblings and this film oozes with it. There is nothing like the bond that can form between people when they journey together and seem to meld into one person in three bodies almost.
The last thing I will extol in this film is the music. I leave it for last because it is the best. Old time twang and southern gospel in its many forms. Upbeat and praise filled, down low and mournful, and wistful longing for a home that is not yet ours. It is used for good and evil alike and the solace of those broken by life and their fellow human beings as well as the joy in the hearts of children still ignorant of life's troubles. There are many songs in this film that feels as if you might have been able to hear them on any summer evening as you drove by the porches of families all gathered outside to enjoy the cool breeze accompanying the setting sun.
Perhaps that is what I, actually, love the most about this film. The sense of coming home after hard times away. The belief that, while family is worth everything, close friends are often the crucible through which we are refined and make us better people for our families when we do get home and join them. The journey is not the destination, but it does change us and make us into the people who will arrive there.
The other thing I find so funny are the characters. Between the three of them, Everett (George Clooney, "Burn After Reading") Pete (John Turturro, "Barton Fink") and Delmar (Tim Blake Nelson, "The Ballad of Buster Scruggs") are each one of them hilarious on their own but the interplay between them is priceless.
Everett is the fast talking knowledgeable man of the world, always scheming and angling for what will give him an edge. He may be knowledgeable but he's not always right or even trying to be right. He's just trying to get his own way and facts, exaggerations, stories, and quickly spoken half truths are his way of doing it.
Pete is easily out matched by Everett because while he may have a better sense of what is just and looks out for what is fair and right, he is also dumb. As such, Everett almost always gets away with whatever he wants and Pete is left continually frustrated in his attempts to make sure he isn't getting the short straw.
Delmar is dumb as well but sweet. He wants everyone to just get along and is always looking to be helpful. Of course, as Everett, Pete and pretty much any other person they run into is always looking to pull one over on each other, this puts him in the awkward position of never really knowing whose side to be on, since he's on everyone's side.
This trio of silliness leads to some of the funniest back and forth conversations, shouting matches, and name calling I've ever seen on screen.
The last thing that makes this movie really funny to me, and I know this is controversial, is the southern drawl of every character in this film. My Grandmother was originally from Arkansas and while her accent has much diminished over the 35 years I've known her, it was very strong to me when I was younger. I always thought it was funny that she referred to Meijer (a local grocery chain) as 'Maars." For me, a southern accent is both funny and fond when I hear it so I know some people may not get the same feeling from this film as I do but for me it is a perfect combination to go with the themes of the movie.
The themes in this film are certainly Coen Brother classics. The values of brotherhood, family, sacrifice, and hard work, with edges of fate, the supernatural, or karmic justice are ever present in their films but the way they blend it with that southern gospel and dry dust working man mentality cuts through strong in this film. It isn't lost on me that the three leads in this film form a close bond, the film is called "O BROTHER, Where Art Thou," and it was directed by the Coen BROTHERS. As a brother myself I can attest to the spirit of camaraderie that can form between siblings and this film oozes with it. There is nothing like the bond that can form between people when they journey together and seem to meld into one person in three bodies almost.
The last thing I will extol in this film is the music. I leave it for last because it is the best. Old time twang and southern gospel in its many forms. Upbeat and praise filled, down low and mournful, and wistful longing for a home that is not yet ours. It is used for good and evil alike and the solace of those broken by life and their fellow human beings as well as the joy in the hearts of children still ignorant of life's troubles. There are many songs in this film that feels as if you might have been able to hear them on any summer evening as you drove by the porches of families all gathered outside to enjoy the cool breeze accompanying the setting sun.
Perhaps that is what I, actually, love the most about this film. The sense of coming home after hard times away. The belief that, while family is worth everything, close friends are often the crucible through which we are refined and make us better people for our families when we do get home and join them. The journey is not the destination, but it does change us and make us into the people who will arrive there.
Genuinely Funny
view_and_review9 January 2021
Ullysses Everett McGill (George Clooney), Pete Hogwallop (John Turturro), and Delmar O'Donnell (Tim Blake Nelson) all escaped from a Mississippi chain gang in search of some hidden treasure. They were a hilarious triumvirate. In there travels they ran into Babyface Nelson, cut a record as the Soggy Bottom Boys, and got beat up by a Bible salesman. Clooney, Turturro, and Nelson were a hoot and a half. I'm not a fan of all of the Coen brothers stuff, but every so often they hit a homerun.
Travelling to Sullivans country
PLundblad21 February 2001
This was the best film I saw in the year 2000. The Cohen brothers have never let me down before, and they certainly didn't this time either.
It's one of those rare movies these days - it's witty, intelligent and vastly entertaining. I left the cinema with a warmth in my heart. Of course, there's lot of Cohen stuff in there - odd characters and peculiar gadgets, well-developed plot and magic camerawork. But no Cohen film is resembling any other Cohen film, if you overlook the general quality of them, of course.
The big surprise for me was that Clooney is so good. But the true master performance in this movie comes from Tim Blake-Nelson. But the rest of the cast is superb too.
A film that is lightweight comedy with a musical touch that evolve it's story round rednecks and old time country music - dripping with wit and intelligence. Thats a very unlikely combination. But it's exactly what this picture is.
It's one of those rare movies these days - it's witty, intelligent and vastly entertaining. I left the cinema with a warmth in my heart. Of course, there's lot of Cohen stuff in there - odd characters and peculiar gadgets, well-developed plot and magic camerawork. But no Cohen film is resembling any other Cohen film, if you overlook the general quality of them, of course.
The big surprise for me was that Clooney is so good. But the true master performance in this movie comes from Tim Blake-Nelson. But the rest of the cast is superb too.
A film that is lightweight comedy with a musical touch that evolve it's story round rednecks and old time country music - dripping with wit and intelligence. Thats a very unlikely combination. But it's exactly what this picture is.
Laughed out loud at George
mooncat8225 December 2001
This wasn't the best film I ever saw, but there were components to it, that I enjoyed completely. The soundtrack is most excellent, especially for those of us who are lovers of traditional and bluegrass music. George Clooney was the funniest..many of the scenes cracked me up. It was a compelling, light hearted rendition of the Odessey..Much fun was had by all.
20th Anniversary!
Blue-Grotto18 September 2020
"O Muse! Sing in me, and through me tell the story of that man skilled in all the ways of contending, a wanderer, harried for years on end."
Sirens, cyclops, oracles, villains, and heroes from ancient Greece assume new forms in 1930s Mississippi in this whimsical, brilliant, funny, and deeply American Odyssey.
Three prisoners on a work crew escape into the countryside. While the iron chain that binds them is soon broken, it is replaced by a stronger bond, friendship. This new link is tested repeatedly and relentlessly by a diabolical sheriff, Klansmen, con men, scheming relatives, alluring women, charred gopher, bad hair and other monstrosities, but luck, desperation, a talent for music and the inveterate resourcefulness of the trio gets them out of much of the trouble that their impulsiveness leads them into. Deeper problems are their own demons. The unlikely companions travel across Mississippi in search of a treasure that proves illusory, but a much more valuable fortune awaits.
O Brother, Where Art Thou is a thick slice of Americana. Much of this comes from the bluegrass soundtrack. I fell in love with the sound along with singer Gillian Welch. Cinematographer Roger Deakins is at the height of his creative powers as he brews something modern and antique at the same time. His images are a little grainy and blurry, which gives them the historical feel, but the composition and quality do not suffer for it. One of the best things about the writing and directing of the Coen brothers is balance. Each character has strengths and weaknesses, good and bad, flaws and noble aspects, and this is in accord with human nature. The stories told by the Coens are drenched in truth and authenticity. Actors George Clooney, John Turturro, Tim Blake Nelson, John Goodman and Holly Hunter are perfectly cast and amazing in their roles. I laughed so hard I lost my breath when Delmar (Nelson) was convinced the sirens turned his friend into a toad, and when Big Dan (Goodman) squishes it. There is satisfactory depth to the film with its references to the Odyssey, the themes of racial harmony, love and politics, the beautiful images and more. It is one of my favorite films.
Sirens, cyclops, oracles, villains, and heroes from ancient Greece assume new forms in 1930s Mississippi in this whimsical, brilliant, funny, and deeply American Odyssey.
Three prisoners on a work crew escape into the countryside. While the iron chain that binds them is soon broken, it is replaced by a stronger bond, friendship. This new link is tested repeatedly and relentlessly by a diabolical sheriff, Klansmen, con men, scheming relatives, alluring women, charred gopher, bad hair and other monstrosities, but luck, desperation, a talent for music and the inveterate resourcefulness of the trio gets them out of much of the trouble that their impulsiveness leads them into. Deeper problems are their own demons. The unlikely companions travel across Mississippi in search of a treasure that proves illusory, but a much more valuable fortune awaits.
O Brother, Where Art Thou is a thick slice of Americana. Much of this comes from the bluegrass soundtrack. I fell in love with the sound along with singer Gillian Welch. Cinematographer Roger Deakins is at the height of his creative powers as he brews something modern and antique at the same time. His images are a little grainy and blurry, which gives them the historical feel, but the composition and quality do not suffer for it. One of the best things about the writing and directing of the Coen brothers is balance. Each character has strengths and weaknesses, good and bad, flaws and noble aspects, and this is in accord with human nature. The stories told by the Coens are drenched in truth and authenticity. Actors George Clooney, John Turturro, Tim Blake Nelson, John Goodman and Holly Hunter are perfectly cast and amazing in their roles. I laughed so hard I lost my breath when Delmar (Nelson) was convinced the sirens turned his friend into a toad, and when Big Dan (Goodman) squishes it. There is satisfactory depth to the film with its references to the Odyssey, the themes of racial harmony, love and politics, the beautiful images and more. It is one of my favorite films.
Mixed Emotions Message-Wise, But Extremely Entertaining
ccthemovieman-117 March 2006
This may be the only film that is blatantly anti-Christian that I still give a high rating, simply because it was so entertaining. Hopefully, some of the religious digs were tongue-in-cheek and not meant in a mean-spirited way, but I'm not sure, especially considering who made it.
I DO know this was fun to watch and hear, except for the excessive usage of the Lord's name in vain with George Clooney as the main culprit. The music in here is super, led by the catchy "Man Of Constant Sorrow," performed by Gary Tyminski. I also loved "Soggy Mountain Boys" humorously sang and presented by the three main characters: Clooney, John Turturro and Tim Blake Nelson. Those three guys were hilarious, particularly Nelson with his rubber-faced looks. Audibly, the entire soundtrack is outstanding, under the direction of T-Bone Burnett. I wound up buying the CD as millions of other people did. Fantastic music.
The way this was filmed makes it visually fascinating, with scenery enhanced by computer graphics and all-time great Roger Deakins in charge of the photography. All the people in this movie are wacky, as are the people who made it: the unfortunately clever-but-biased Coen brothers. The parade of wild characters, wild scenes one after the other and the three likable leads (yeah, even the profane Clooney) make this an extremely fast-moving 103-minute movie.
I DO know this was fun to watch and hear, except for the excessive usage of the Lord's name in vain with George Clooney as the main culprit. The music in here is super, led by the catchy "Man Of Constant Sorrow," performed by Gary Tyminski. I also loved "Soggy Mountain Boys" humorously sang and presented by the three main characters: Clooney, John Turturro and Tim Blake Nelson. Those three guys were hilarious, particularly Nelson with his rubber-faced looks. Audibly, the entire soundtrack is outstanding, under the direction of T-Bone Burnett. I wound up buying the CD as millions of other people did. Fantastic music.
The way this was filmed makes it visually fascinating, with scenery enhanced by computer graphics and all-time great Roger Deakins in charge of the photography. All the people in this movie are wacky, as are the people who made it: the unfortunately clever-but-biased Coen brothers. The parade of wild characters, wild scenes one after the other and the three likable leads (yeah, even the profane Clooney) make this an extremely fast-moving 103-minute movie.
A great sound, a great look, and a great story.
sickdogg8813 February 2001
I was into the movie right away. I've seen the other Coen movies, with the exception of Raising Arizona, and I've noticed that each of their movies has a color. Fargo is gray/white, Lebowski is bright orange, and this movie is a pleasant yellow.
The bright pleasant qualities of this movie start right away. Soon the look is accompanied by the great, great music. It's the old folk sound, the kind of music that was written during a time when music was enjoyed as a part of day to day life. Enjoyed by everyone, chain-gangs, church choirs, and even prison escapees.
Now, about the prison escapees. I don't know what crime their characters could have possibly committed, as they are a very very friendly group of guys. Clooney is fantastic, completely nailing his role.
Go see this as soon as possible. I believe that it can be enjoyed by anyone at some level. For some reason, the theater I was in was full of old ladies and old men, and they loved it.
You'll love it too, I promise. I was compelled to get my hands on the soundtrack right away.
The bright pleasant qualities of this movie start right away. Soon the look is accompanied by the great, great music. It's the old folk sound, the kind of music that was written during a time when music was enjoyed as a part of day to day life. Enjoyed by everyone, chain-gangs, church choirs, and even prison escapees.
Now, about the prison escapees. I don't know what crime their characters could have possibly committed, as they are a very very friendly group of guys. Clooney is fantastic, completely nailing his role.
Go see this as soon as possible. I believe that it can be enjoyed by anyone at some level. For some reason, the theater I was in was full of old ladies and old men, and they loved it.
You'll love it too, I promise. I was compelled to get my hands on the soundtrack right away.
Relating this movie to "The Odyssey"
zdrummer1026 December 2007
Warning: Spoilers
The Coen Brothers successfully transformed the epic poem, "The Odyssey" into a movie through their full screen spectacle, O Brother Where Art Thou? For example, both pieces begin with blind prophets who describe future occurrences through predictions. In O Brother Where Art Thou? the prophet is revealed to be the blind man on the train tracks, predicting the future of the three fugitives. In "The Odyssey", there are many prophets, such as Muse, Theoclymenes, Helen and Tiresias who often describe the impending doom of the suitors and Odysseus' return. In addition, in both pieces there are sirens who attempt to stir the main characters' supporting crew. In O Brother Where Art Thou? the sirens are located at a lake, persuading Pete to follow them leading to his eventual arrest. In "The Odyssey", the sirens are directly in the path of Odysseus on his way home. They attempt to persuade him to follow them, but his crew strictly restrains him and they eventually pass through unharmed. Thirdly, both pieces contain a strong antagonist (Cyclops) who approaches the main characters kindly and quickly turn hostile. In O Brother Where Art Thou? this antagonist is represented by the one-eyed Big Dan. He kindly tells them that he is willing to sell them atonement for their sins through the bible, and turns hostile by physically assaulting them and killing their frog. In "The Odyssey", the antagonist is represented by the Cyclops who begins his part in the story as a hospitable creature, but later turns hostile when eating two of Odysseus' crew mates.
In addition to the meeting of the two Cyclops's, both pieces of work show the physical pain caused by the protagonist on the antagonist. In O Brother Where Art Thou? during the Ku Klux Klan meeting, big Dan is killed by Evrett when the flaming cross falls on him. In "The Odyssey", Odysseus blinds the Cyclops with a flaming spear during his imprisonment in the Cyclops' cave. Another similarity between the two pieces is the protagonist's wife's plan to remarry. In O Brother Where Art Thou? Evrett's wife, Penny plans on remarrying a suitor. In "The Odyssey", Odysseus' wife, Penelope plans on remarrying one of the many suitors occupying her home. Lastly, in both pieces, the main character enlists the help of his friends before the final, eventful scene. In O Brother Where Art Thou? Evrett promises loyalty and fair treatment to Pete and Delmar before entering the church and trying to stop the wedding. In "The Odyssey", Odysseus promises to treat the cowherd and swineherd as children if they aid him in his final battle with the suitors. In conclusion, the similarities between the two pieces of work prove the successful translation from "The Odyssey" to O Brother Where Art Thou? I am a total buttface
In addition to the meeting of the two Cyclops's, both pieces of work show the physical pain caused by the protagonist on the antagonist. In O Brother Where Art Thou? during the Ku Klux Klan meeting, big Dan is killed by Evrett when the flaming cross falls on him. In "The Odyssey", Odysseus blinds the Cyclops with a flaming spear during his imprisonment in the Cyclops' cave. Another similarity between the two pieces is the protagonist's wife's plan to remarry. In O Brother Where Art Thou? Evrett's wife, Penny plans on remarrying a suitor. In "The Odyssey", Odysseus' wife, Penelope plans on remarrying one of the many suitors occupying her home. Lastly, in both pieces, the main character enlists the help of his friends before the final, eventful scene. In O Brother Where Art Thou? Evrett promises loyalty and fair treatment to Pete and Delmar before entering the church and trying to stop the wedding. In "The Odyssey", Odysseus promises to treat the cowherd and swineherd as children if they aid him in his final battle with the suitors. In conclusion, the similarities between the two pieces of work prove the successful translation from "The Odyssey" to O Brother Where Art Thou? I am a total buttface
Handsome production, but awkward, detached serio-comedy isn't too funny...
moonspinner555 July 2006
Terrific production and a good comedic performance by George Clooney can't save curiously detached, occasionally clumsy quasi-comedy from Joel and Ethan Coen. Depression-era road tale hearkens back to yesterday with three escaped chain-gang prisoners seeking a hidden fortune, and inadvertently becoming country music stars in the process! The film meanders along but never builds any momentum. It does get a big boost from Clooney's charismatic, Gableesque mugging, and also from the art direction and T-Bone Burnett's lively music. Otherwise, the screenplay (by the Coens) is seriously lacking in humor and interest, supporting cameos by John Goodman and Holly Hunter fail to add any lift, and the second-half of the movie slides precariously into self-indulgence. ** from ****
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