El apoderado de Hudsucker

This film is frequently mentioned in college film classes for its interesting use of a door or window framing nearly every scene in the movie. I adore the art deco detail that encases the film from the doors, to the cars, to the clock machinery, it's a real beauty visually. There is something giddy and whimsical about watching it. I think critics of films are often scratching for a profound meaning when none is intended.

There is a particularly wonderful scene where an adorable little boy picks up the hoola-hoop for the first time and begins swinging it around his waist. I think I replayed the scene several times just for the expression of the boy's face.

Its theme song, Adagio of Spartacus and Phrygia, was composed by Khachaturian. The theme song has a majestic, soaring orchestration that stays in your head for hours.

Just hearing the title "The Hudsucker Proxy" confuses people. I told my mom the other day, "I got 'The Good, The Bad and The Ugly'; 'The Big Lebowski' and 'The Hudsucker Proxy' from the library today". You know what she said? "What was that last one?" Uh-huh. Not many people know what a 'proxy' is, and Hudsucker sounds a lot like 'sucker', so it really freaks people out sometimes.

That's a reason why it's so good! From the moment it starts - with a 'comedic' suicide scene no less - the audience is left saying, "Huh?" It stars Tim Robbins as a dimwitted mail room worker for a large company. On his first day, the president (Charles Durning) kills himself, leaving Sydney J. Mussburger (Paul Newman) with a plan to elect a moron for the new company president so that their stocks can go down and they can sell. Naturally, Robbins' character is picked. After that, he gets barraged by co-workers, stocks, the press, and undercover reporter Amy Archer (Jennifer Jason Leigh). Naturally, Robbins and Leigh fall in love.

Sounds rather normal doesn't it? Well, when you watch and meet characters like the immortal Clock Man Moses (Bill Cobbs) and the evil Aloysius (Harry Bugin), and even get a surprise visit from Durning's ghost, you'll change your mind.

Of course, it's still no "Godfather", but if you have nothing to do and feel like watching an interesting Coen comedy, pop in "The Hudsucker Proxy", 8/10.

The first time I saw this film, I enjoyed it. No doubt about it.

I wondered why some people didn't like it. What's not to like?

I saw it again, and paid more attention to some of the finer details, realizing what a rich, full textured film it was.

And yet again I saw it. Still more revelations.

In fact, every time I see it, and I'm sure to see it again, I enjoy it more and more with each subsequent viewing.

This film's narrative is nearly as perfect as the Hula Hoop itself, despite the albeit fictional account of the invention of said "dingus".

But it strikes me as odd and unfortunate when I encounter someone who's seen this and not enjoyed it.

All I can say is, have you tried it more than once? It isn't exactly what I'd call an acquired taste, but when you see how rich in detail and humour it is, you may begin to appreciate it for what it truly is; a great film that deserves a second chance. K.

Another fascinating piece from the Coen Brothers, 'The Hudsucker Proxy' is an homage to the films of the 1930s. From the grey faux-Gothic cityscape to the over-the-top acting and rapid fire dialogue to the subdued colors to the stark sets, this film hearkens back to an earlier era of films.

The plot is simple enough. When company president Waring Hudsucker commits suicide, the board of directors, led by the deliciously evil Sidney J. Mussburger (Paul Newman) determines to devalue the stock by putting a 'shmoe' in charge of the company so that when the late Hudsucker's controlling interest in stock hits the market in 30 days, Mussburger's cabal can snap it up on the cheap. Enter shmoe Norville Barnes (Tim Robbins). Jennifer Jason Leigh is the newspaper reporter who infiltrates Hudsucker Industries under the guise of secretary, and is Barnes' love interest in the film.

Robbins performs more than adequately but is outshone by terrific performances by Newman and, in particular, by Leigh, who absolutely nails this role. Her saucy, lilt of the tongue is wonderful; she simply oozes sensual sass, and all in the very decent parameters of decades gone by in Hollywood.

Other highlights of the film include - the wonderful sets, where less is more; the usual Coen cinematography, which makes the film a visual delight above and beyond acting and plot; the clock (an unbilled role, in a sense). Curious characters pop up and return – Buzz the Elevator Operator, the Clock Maintainer, and many others. And, of course … that clock!

As will all Coen brothers films, this one calls me to see it again, as I always seem to discover new elements when watching their works for the second, third, fourth times, and beyond. A very worthwhile film – enjoy!

7 out of 10

In 1994 The Hudsucker Proxy was released to indifferent reviews and failed box-office. It failed to get a single oscar nomination. After watching it several years ago, and again tonight, I can only come up with one question: Why? Everything in this movie clicks like the huge clock that towers over NYC from the Hudsucker building. Tim Robbins has rarely been better and provides a worthy successor to the clueless but ultimately endearing Capra heroes of the 30's, like Gary Cooper and Jimmy Stewart. Jennifer Jason Leigh, who has been so good in many movies, provides a winning cross between the professionalism of Rosalind Russel's character in His Girl Friday and the archetypal Katherine Hepburn character (she even gets the voice right!). Paul Newman makes an ideal villain, and Charles Durning has a memorable cameo. The cast is not even the best part. The movie is visually stunning (where were the cinematography and art direction oscars on this one?) and adds all the more to the storyline. The direction flawlessly invokes the madcap comedies of the 30's with a plot that is heavily influenced by Sturges and Capra but has some now-typical Coen twists in it as well. However, the best part is the screenplay. A true american original, it exceeds especially with the hula-hoop plotline. This movie flopped in' 94, but hey--so did Vertigo in '58 and The Magnificent Ambersons in '42. Some genius takes time to be appreciated--lets hope time appreciates this true Coen masterpiece. Makes a good double bill with the similarly screwball but more over-the-top Raising Arizona