Programme
Crimes and Misdemeanours – The Eccentric Cinema of the Coen Brothers
‘I got horse sense, goddamnit. Showmanship!’ Hollywood executive Jack Lipnik explains to scriptwriter Barton Fink why he is so successful despite not knowing the scripts. Indeed, such deprecatory, ironic jokes are pitch-perfect creation of Joel and Ethan Coen, who are recognised as masters in the art of scriptwriting – and in the subversion of Hollywood protocol.
Never run out of creative ideas, the Coen Brothers make a bold definition of ‘Coenesque’ storytelling with their flawless blend of offbeat narrative, tricky twists and turns, dark humour and memorable characters, all wrapped up in a meticulously structured script enhanced by a measured camerawork – thanks to long-term cinematographer Roger Deakins. The duo has managed to explore a wide variety of genres while maintaining the playfulness to topple storytelling conventions.
In a career spanning close to forty years, the Coens have crafted a distinctive cinematic universe all their own. It’s a world that fills with boisterous eccentrics, wily criminals and desperate artists who are often ill-equipped to meet the challenges thrust upon them. Above all, fate dictates a powerful dynamic at play. Be it Dude in The Big Lebowski , Ed in The Man Who Wasn’t There, Norville in The Hudsucker Proxy, they are free to dream and scheme, but at the end of the day, it’s fate that holds them back – all except the amazing female characters. Exemplified by Frances McDormand, the formidable actress and wife of Joel Coen, women are strong, defiant, and self-assertive, taking destiny into their own hands.
Rich in historical detail, while existing just the other side of grounded reality, the vivid filmography of the Coens represents the United States as a nation of immigrants, beholden to their roots. Whether unfolding on the streets of Manhattan or the deserts outside El Paso, the Coens feel equally comfortable addressing the lingering woes of a nation where the American Dream has emboldened so many to make their fortunes outside of the law. Recurrent themes of infidelity, betrayal, opportunism and greed; omnipresent motifs of typewriters, telephones and revolvers are given freshness and spontaneity that both reinforces and elevates the comedic and horrific effects.
‘Yeah, well, that's just, like, your opinion, man.’ The Dude opts not to argue about it, and continues with the game. So do the Coens, don’t they?
