#joelcohen

Netflix really went big on the rollout for this one.  Television ads and YouTube ads were abundant for The Ballad of Buster Scruggs the past couple of weeks.  The ads even managed to find their way regularly into my catch-up session for The Walking Dead.  Normally, advertising this heavy would have an adverse effect on me, but it’s hard to deny the pull of Joel & Ethan Cohen.   

A series of vignettes about the Old West are presented in the form of a storybook.  Buster Scruggs (Tim Blake Nelson) is a gentlemanly golden-throated outlaw traveling through the Monument Valley area in search of a drink and entertainment, but his search only turns up challenges to his character and his skills with a pistol, ultimately culminating in a meeting with a mysterious adversary known as The Kid (Willie Watson).  A cowboy (James Franco) runs into a ping pong game of bad luck to good luck as he attempts to rob a bank teller (Stephen Root), faces hanging from a man in black (Ralph Ineson), is partially rescued by a passing tribe of Natives, and much more on his way towards meeting his maker.  A traveling Impresario (Liam Neeson) sets up a traveling stage as he moves from town to town, showcasing the brilliant oration of Harrison (Harry Melling), his armless and legless ‘companion’.  A prospector (Tom Waits) discovers a valley untouched by man and decides to pan for gold in the area, managing to circle what seems like an elusive possible batch of gold in the area in hopes of discovering it and making it out alive.  Alice Longabaugh (Zoe Kazan) takes part in a caravan to Oregon courtesy of her brother Gilbert (Jefferson Mays), who is promising her a husband as an aside to his upcoming business venture, but the trip provides many life-changing aspects prior to her journey’s conclusion.  Five travelers in a stagecoach find themselves at philosophical odds, and with nobody willing to back from their stance, the entire group’s journey takes them to unexpected places.

The Cohen Brothers have an amazing way of turning any genre they approach into something darkly comic and poetically rhythmic, and The Ballad of Buster Scruggs gives them the chance to do so in overdrive with the Western genre.  The guise and presentation of the storybook allow the duo to really embellish in the outrageousness, turning the entire affair into an almost comic book or cartoon in human form.  The premises given are familiar, but as we progress from story to story, the turns that lead us to their resolutions become darker and more sinister, even sometimes as subtle as the prospector’s story commenting on the impact that man leaves on the environment.  The entire proceeding has the feel of sitting around a frontier campfire and being told stories that stick with you for years and years.

Nods to the Western are abundant : singing cowboys, black hats and white hats, Monument Valley, the Dead Man’s Hand, silence before the storm, facing the noose, the threat of savage Natives, and so many more hallmarks are touched upon.  The movie manages to bring in new school levels of violence (though measured in their use) and integrate them into traditional, classic style storytelling to great effect.  Nothing presented is too shocking due to the fact that the Cohen Brothers are fans of taking their time with moments, rather than punctuating the outrageous with sound stings and unnecessary flair.  Despite the fact that the stories have no hard connecting narrative thread, everything fits together quite well.  

The way that illustration aspects are used for surrealism early on are highly entertaining, including (but not limited to) clouds casting shadows onto the sky and Buster Scruggs’ human-shaped dust cloud).  The use of vivid colors is maintained throughout, even when it’s layers upon layers of blues, blacks and purples for the night moments, or muted earthtones meant to accentuate the redness of the blood usually waiting to appear.  The use of music is reserved, which is surprising for a Cohen production, but extremely well placed when it is used.  The collection of stories continually subvert expectations despite going down well-worn paths.

Tim Blake Nelson takes the mantle of titular character and owns it like a badge of honor, playing almost to the level of Bugs Bunny in terms of both charm and ability to cause violence to others.  James Franco goes bad man, complete with gruff voice and tough guy approach.  Harry Melling’s vocal cadence and intense eyes help drive his assortment of famous speeches, making them equally entertaining to both the movie crowd and us as viewers.  Liam Neeson plays extremely reserved and relies heavily on looks and gestures, making Melling’s continued repeat performances much more heartbreaking as it is the closest he gets to interaction with others, and giving Neeson's sudden outburst even more brash and boorish weight.  Tom Waits takes us on a cycle of desperation, hope and despair in a mostly one-man show, proving he’s still as compelling a film presence as anyone out there.  Bill Heck brings all of the assuredness and confidence of a high schooler in his attempts to get close to Zoe Kazan, whose timid nature and proper approach play well against her surroundings and circumstances.  The way that Tyne Daly, Brendan Gleeson, Jonjo O’Neal, Saul Rubinek and Chelcie Ross brings the entire affair home with masterful action and interaction.  Appearances by Willie Watson, David Krumholtz, Stephen Root, Sam Dillon, Jefferson Mays, and Grainger Hines help bring deep texture to this amazing world.  

Zweiter Anlauf für MGM: 2003 wollten sie Fargo schon einmal ohne die Coen-Brüder ins Fernsehen bringen, nun versuchen sie es mit ihnen. Wie Deadline berichtet, entwickelt das Studio zusammen mit FX Productions eine einstündige, humoristisch angelegte Krimiserie, die auf dem Klassiker von 1996 beruht.

Im Film spielte Frances McDormand eine schwangere Polizistin, die im winterlichen Minnesota die Spur zweier inkompetenter Krimineller verfolgt. Die sollen die Frau eines Autohändlers entführen, aber der Plan entgleist völlig.