Review: O Brother, Where Art Thou? (2000) · 9:30pm Aug 22nd, 2015

O Brother, Where Art Thou? stands as one of the most unique films in the already supremely unique filmography of the Coen Brothers.

The duo infuses the film with a wry, retro style sense of self awareness, with characters intentionally broad and stereotypical in a similar manner to Fargo. Instead of the Minnesota Nice of Fargo however, O Brother, Where Art Thou? instead lovingly riffs on the idiosyncrasies of the Deep South during the Great Depression. This aura of intentional kitsch and exaggeration is furthered by the film's cinematography, by the mighty Roger Deakins. All the colors are intentionally saturated and drained to invoke the dust covered, seemingly perpetually grungy look of the Dust Bowl, and it really fits the film, which feels very much like some long lost 30s era screwball comedy that was lovingly restored by the Coens. On top of that, it also functions as possibly the best adaptation of Homer's The Odyssey we've gotten so far.

George Clooney is lovingly dorky as Ulysses Evertt McGill, a lovingly pompus know nothing know it all who insists there is no supernatural forces, even though they are being hunted by what very well may be The Devil himself (in the form of a creepy, sunglasses wearing lawman with a blood hound). The film constantly loved to take Everett's overly ornate philosophizing, and use it to highlight how short sighted he is, but never in a mean way. If anything, like the rest of the film, it plays out more like the recounting of an old folk tail, weird asides and tangents included.

Tim Blake Nelson and John Turturro are both hilarious as Clooney's fellow fugitives, with Nelson being the lovably naive doofus, and Turturro being the closest we get to a sane man, who even then is a rather dim bulb. But like Everett's philosophizing, their foolishness isn't a source of bitter laughs, but rather good natured ribbing, like an old family story that's been told a thousand times.

Charles Durning gets a special shout out as the loud, lovably obnoxious Mississippi governor Pappy O'Daniel. In a way, his role here recalls his Doc Hopper from The Muppet Movie, with the same 'obnoxious car salesman' type personality.

Of course, no discussion of this film is complete without touching on the wonderful array of folk music that forms the film's soundtrack. Pieced together by the mighty T Bone Burnett, it serves as a Best Of of Americana, raging from widely known classics like 'You Are My Sunshine', to lesser known gems like 'Man of Constant Sorrow'. Its probably one of the best soundtracks ever pieced together, and it really helps enhance the film, and help contribute to its airy sense of Americana.

And really, that's what this film does best. It captures a slice of America in a way that only the Coen Brothers can. It functions as both a satire and a love letter, and really stands as one of their most enjoyably fun movies.

5 out of 5