Le Grand Saut

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.

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.

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.

This is one good looking movie and has many Coen recognisable signature quirks to make it worthy of a comparison to their earlier and later works. I will come back on those quirks later.

I love the way the Coens always combine high-brow subtlety with low-brow slapstick which makes it so accessible. This movie is not heavy on subtlety but there are some genius moments in it to make it watchable again and again. Newman for one is great in this movie and having the best of times. He makes minimal acting an artform. Really, he could act anyone of that screen with his eyes closed. Jennifer Jason Leigh is a contrast with her hand waving,her Katherine Hepburn- affected-ballsy way of speaking and general overacting but I guess she sets the scene quite brilliantly to complement the decor and general 30's feel of the movie. You see, apparently the Coens have a penchant for the 30's movies style(and so they should.. Many a great movie was made in that decade) but the story in which an imbecile's dingus, against all odds became a total Fad and all the rage, doesn't quite fit that decade. I can't think of any Dingus which became all the rage in the thirties (life was too hard for thingamabobs then, I suppose) and the earliest example, the hoolahoop, was definately a brainchild of the 50's (Life was good and spendable income to buy doodahs was more readily available ). I don't mind that at all but I was confused to find out that it was set in the 50's because of all the visual and audible references to the 30's. If Mussburgers office wasn't an art-deco Love-fest (that clock!)I don't know what is.

I guess this review is definitely style over content but you know what? That just doesn't matter because plot is secondary to the visuals, and dialogue in this movie. And that is just alright by me. It is the reason why these movies are so good for repeat viewings. Once you know a plot, you are not likely to watch it again just for the plot's sake. It is the sights, the sounds the dialogue that makes you want to watch a movie again and again. Oh you don't believe me? Name your favourite movie (not the one you tell your friends is your favourite but the one you watch again and again). What makes you want to watch it repeatedly? Is it because you want to know what happens for the 100th time? Ofcourse not! You want to watch it for the 100th time because of the dialogue, the fun, the special effects the object of your desire etc. etc...

Now I am not saying that plot is not important but I am saying that what makes Coen Brother's movies so good is that they think about their viewer/audience who wants to watch their movies until they can repeat every line in the movie(and becoming sad anoraks in the process). I actually know people who watched the Big Lebowski half way and walked out of the cinema only to find them Lebowski addicts after one more viewing. I am not naming names but you know who you are...

I liked this movie the first time round... I know I will love it later...

Now for the Coen parallels between this movie and the Big Lebowski:

Jennifer's way of speaking was similar to Julianne's Maud. They were both "feisty" Brunettes who fall for the main character(I wouldn't call 'em heroes)

The voice over to remind us that it is a fairytale at the beginning and end by guardian-angel-types. (Sam Elliot in Big and Bill Cobbs in the Hudsucker) Bizarre Dance Dream Sequences that have nothing to do with the plot but are hugely enjoyable. Blond Bombshell (Anna-Nicole Smith in Hudsucker and Tara Reid in the Big Lebowski)Who want to seduce the hero. Steve Buscemi. Memorable Lines...

So all in all I guess I recommend it!

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