Review: The Hudsucker Proxy (1994) · 8:38pm Jun 3rd, 2016

A surprisingly upbeat and chipper film, yet still carrying their trademark biting satire, the Coen Brother's fifth feature was, and still is, a bit of a black sheep in their filmography. Instead of a brooding neo-noir like Miller's Crossing and Blood Simple, or the strange fever dream surrealism of Barton Fink, The Hudsucker Proxy instead takes its cues from the wild screwball zaniness of Raising Arizona, but instead of the quirky outback of Arizona, the quirky stylism and deliberate kitsch is instead used as a loving, affectionate homage/send-up to the films of Preston Sturges and Frank Capra, albeit with the Coen's own supremely unique and singular stylism and quirks.

The plot is simple enough, with the greedy board members, led by a delightfully hammy and wonderfully malevolent Sidney J. Mussburger (Paul Newman), surprised by their CEO Waring Hudsucker's (Charles Durning) sudden suicide, attempt to drive the company's stock down in order to buy it up for themselves by hiring the biggest idiot they can find -- innocent, niave mail worker Norville Barnes (Tim Robbins), who unexpectedly causes a windfall for the company with the invention of the hula-hoop ("Ya know...for kids!"). Meanwhile, an intrepid and spirited reporter (Jennifer Jason Leigh) seeks to uncover why the company would so such a thing.

What follows is a deliberately zany and unapologetically slapstick whirling satire of corporate America, and human greed. And in doing so, the Coen's openly embrace the kitsch and sense of unadulterated fun of it all. Their camera is on high-octane for the film, swirling and spinning with wide angel lenses and over the top zooms, which, coupled with the comically exaggerated sets (that seem to recall Terry Gilliam's Brazil), and wildly verbose screenplay (co-written by friend Sam Rami of Evil Dead fame). It's not a subtle film, nor is it under any pretensions towards some higher calling. Instead, it's obvious the Coen's wanted to have fun in their own unique, quirky way, and give a fitting tribute to the madcap comedies of the forties and fifties, which coupled insightful social commentary with hilarious slapstick.

The cast are all on the same ball as the Coens, and it's evident that everyone's having fun with their roles. Tim Robbins flies into the role of a complete doofus with a likable, almost adorable sense of glee, with his wide-eyed, oh-golly-me optimism contrasting beautifully from everyone else's cynicism. His chemistry with Jennifer Jason Leigh feels true, and when the role of CEO goes to his head, his transformation into over-the-top selfish businessman is equally comical.

Jennifer Jason Leigh plays her intrepid reporter with a surefire spark and determination, recalling the performances of Kate Hepburn with pitch perfect accuracy. From her over-the-top inflections and NYC accent, to her steadily growing genuine affection towards Norville, her character is a joy to watch, and her interactions with Robbins, her editor (played by the always reliable John Mahoney), or fellow reporter (Bruce Campbell), are delightful to watch.

Paul Newman especially brings home the ham with his gleefully malevolent and greedy performance as Sidney J. Mussburger, chewing on his omnipresent cigar and steely blue eyes gleefully scheming and plotting Norville's demise through the entire run time. Yet, we love to hate him in his sheer audacity and villainy, and it helps further enhance the giddy feeling of enjoyment that the film gives me.

And, as is typical of the Coens, there's a wealth of minor bit parts, all of whom are played with the same gleeful abandon.

Carter Burwell's score is a gem, mixing original music with the wild romanticism of Aram Khachaturian's Love Theme from Spartacus and Sabre Dance. It perfectly sets the mood for the film, and, coupled with Roger Deakins' crisp cinematography, helps ground the film, which helps the zany stylism shine all the more.

Of course, it must be said that the film isn't operating on the same plane of existence as such masterpieces as Fargo or No Country for Old Men. In it's unabashed stylism, the film can easily be seen as just a fluffy truffle, and it lacks the vicious bite of many of their other films. But, for those very same reasons, I personally found it such a joy. It shows the Coens were able to kick back and have fun with a film, and do so in a way that creates an enjoyable product.

It's not the deepest film, but it's a wild, fun ride, and it makes me feel all giddy and happy inside. And honestly, I wouldn't trade it for the world.

5 out of 5 stars.