Ave, Cesare!

HAIL CAESAR! ("A Story of the Christ", as we are told in the title card) is one of those offbeat gems that I have no doubt grows in affection with repeated viewings. Folks here complain that it's not a laugh-a-minute farce, that it's not this, that it's not that...

Here's what it *is*: the film version of RADIO DAYS.

Just like Allen made a loving pastiche of radio at its height in the 1940s, so have the Coens done for film at the tail end of its Silver Screen era, when studios manipulated its contract players and worked the media to prevent the "unfortunate" aspects from being revealed to an audience that just wanted escapism fantasy. Josh Brolin is the tightly-wound studio "head of physical production", an enforcer who's being seduced by a potential job with Lockheed to oversee work on the atom bomb. Before he can come to a decision about whether or not take it, he has to deal with the sudden disappearance of the slightly disconnected-from-reality George Clooney (who looks like he's having a blast in this, especially in the final scene of his big budget sword-and-sandel Jesus epic). Along the way, we see the Coens' take on Esther Williams, Carmen Miranda, Gene Kelly, and a host of other stars from the era...

... and this is what makes the film so damn much fun. It's not about the story, it's about how the Coens are celebrating the films we have perhaps idealized a bit too much: Esther Williams' underwater ballets and Gene Kelly in NYC for 24 hours and Gary Cooper trying to play it in a toney, high-class period drama. There are so many references to the great films of the day that if you blink, you'll miss a few — they follow fast and furious and sometimes with little more than a sly wink. If you are an old time movie buff, you will love this film to tiny little bits. If not... well, you probably wont enjoy it all that much.

But then the Coens probably didn't make it for you, did they...

I was very surprised how quickly "Hail, Caesar" was in and out of the theaters...but now after seeing the film, I can completely understand why. It was as if the Coen Brothers simply said "let's do a film for ourselves...who cares whether or not the public enjoys it or not!". I appreciated it myself...but I am also not the average film-goer. As for the average viewer, the film makes allusions to many events in the history of Hollywood...but if you aren't aware of these events or rumors, you'll not understand or appreciate much of the film.

The story is based SLIGHT on the life of Eddie Mannix--a motion picture exec who was known as a 'fixer'--a guy who knew how to make bad problems do away...and with the bad behavior of many of the stars, this was an exhausting job. The story seems to be just a slice out of Eddie's life--possibly not the worst time as a fixer but a busy one. Through the course of the film, several problems arise--such as a pregnant single starlet and an actor of dabbles in communism. In each case, Mannix has to get to work to be sure the public never knows...and you see how exhausting this job is.

If you are looking for big laughs, you won't see them. There are a few small ones...just a few. Instead, it's more like a time machine trip to the early 1950s and you are that fly on the wall watching these Hollywood types as they go about their lives and doing stupid things. I do NOT strongly recommend the film but only mildly...and only if you are a real fan of the films of yesteryear AND are aware of the misbehaviors of some of our stars...or alleged misbehaviors.

I am a huge Coen Brothers Fan. Many of their films are hard core 10's in my ratings and I had an uneasy feeling going into this one. The trailer made me think of Intolerable Cruelty more than O Brother Where Art Thou or many of their other films.

It felt like a strung together series of little set pieces that didn't hang together as a whole. I won't mention the plot since there was virtually none and what there was was fairly flat and unimportant.

Normally the Brothers can overcome a weak plot (although strong plot-lines have driven several of their movies) with strong quirky performances and memorable cinematography.

Sadly, the dialog lacked snap, the film didn't pop off the screen looks wise, given that it's a period piece, and with such a strong cast, everyone looked tired - almost as if they had come in to film their parts after getting off their day jobs and they were just doing a favor to the Coen's.

Overall I've seen much worse but when you go to a Coen Brothers film, you just expect much more.

It looks so good. Really, the feel of 1950s Hollywood has never been better, the photography is first rate with a stellar cast directed by the popular and very much held in esteem COEN BROTHERS. Trailer made it look like an fun Frank Capra kind of film. And when we walked out of it, given all the above, we missed something. A movie. There is none here. It is a great job made by talented people aplenty. It wants to be that fun film but never finds the movie. A few jokes. Not enough. Quirky fun characters, but not weird enough. Sublots aplenty, but they never run together and never are resolved. Good acting that goes nowhere. This fine film is just a bunch of dead end streets that are way too short with really interesting stuff on the side of the road but no intersection.

Neil Simon was given script advice once that all the characters have to meet in the play AT LEAST ONCE. Here, none meet at all. They have the subplot and that is it. Ending was weak too. Meh.

The Coen Brothers are heroes of mine. They travel from universe to universe remaining true to themselves. Hail, Caesar should have been , I thought, a familiar universe for them but they seem lost. A journey without a clear destination. There are, of course, a few pleasures along the road. The scene between Alden Ehrenreich and Ralph Finnes is a gem. Alden Ehrenreich is a breath of fresh air with vintage breezes that are exciting, compelling and totally disarming. The tap dance routine with Channing Tatum is also a lot of fun even if I can't quite get Channing Tatum. Great body and he can dance but he seems to be somewhere else. Impossible to connect on the screen with him. I hear he gets millions of dollars per movie so maybe it's just me. The opposite of George Clooney who launches himself body and soul to every moment he has on the screen. I will shut up now and wait for the next Coen Brothers movie.