Opération Hudsucker

I cannot understand why this movie has not earned the respect it deserves. Norville Barnes represents high hopes and bright ideas, and when he starts out his intentions are pure. But when money makes him lose his focus, only love can put him back on the right track. Tim Robbins and Jennifer Jason Leigh are masterful in this movie, which is one of my personal favorites.

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.

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

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.

This is a fun film - very lighthearted with beautiful sets, fast paced dialog and caricatures at every corner and turn.

It seems to pay homage to old Capra screwball comedies - and it's pretty much old fashioned farce right from the beginning.

The film is far from perfect. Jennifer Jason Leigh's performance is labored. She tries to squeeze every last snicker she can with her character. She misses the mark in my opinion, moving and talking with so much effort and pace - just to get a laugh - that in the end, she gets none.

Paul Newman goes the other way - he understates his character and when contrasted to the lunacy of both the environment and the story around him - it makes for some great scenes. He makes a great villain in this movie - and for me, he's a large reason why the movie works.

Tim Robbins does a good job, especially at the start of the film. His best moments come when the story and the environment overwhelm his character.

There's great moments, like the ridiculous Muncie fight song, the Monty Python-esque mail room, Charles Durning with wings and the grim, faceless board members - with their inane questions and so frightened to lose their authority that they agree to virtually anything.

This film isn't genius or anything, but if you enjoyed the antics of something like 'Arsenic and Old Lace' then this is worth catching. It's delightfully silly - and has some interesting visuals and symbolism along the way.