Arizona Junior

This amusing picture concerns about an ex-convict (Nicolas Cage) who falls in love for a policewoman (Holly Hunter) who takes him a picture each time he goes to prison . Both of whom wish sons but cannot have any . Then they decide to abduct one from a couple with five children . Meanwhile , a pair of ex convicts (John Goodman and William Forshyte) meddle themselves in their marriage life . Besides , a bounty hunter (Randall Tex Cobb) called the ¨lone biker of apocalypse¨ sets off in pursuit the protagonists for obtaining the reward offered by the child's dad .

The film blends irony , humor , tongue-in-cheek , chase scenes , slapstick and is very amusing and entertaining . It's a splendid comedy with set pieces cartoon where the action and humor is continuous from the presentation until the ending . The film was influenced by the works of Preston Sturges and writers such as William Faulkner and Flannery O'Connor , known for her southern literature . Enthusiastic performances by the two main stars , Nicolas Cage is perfectly casted , though his relationship with the Coen Brothers wasn't respectful , but turbulent . When he arrived on-set, and at various other points during production , Cage offered suggestions to the Coen brothers, which they ignored . And Holly Hunter is sympathetic , giving an attractive acting . The movie that was shot in 10 weeks has its moments here and there and being pretty enjoyable and bemusing . Many crew members who had worked with the Coen Brothers on Blood simple (1984) returned for this film , including cinematographer Barry Sonnenfeld , co-producer Mark Silverman , production designer Jane Musky , associate producer and assistant director Deborah Reinisch , and film composer Carter Burwell . Breathtaking cinematography by Barry Sonnenfeld who makes a great camera work , after becoming a famous director with many smash hits (Men in black) . Excellent musical score by Carter Burwell (Rob Roy) , he's habitual musician of Cohen brothers films . Rating : High recommendation. Above average . Well worth watching.

Watched this again recently and still as good today as it was then.

The Coen's second movie has an innocence that makes it endearing, especially to a non-Coen fan. (I am one, I'm just saying for those haters out there.) The language takes a joy in itself and is very Coen-esque, although overall I was left with the feeling more of Sam Raimi. Some camera moments are like "Blood Simple," like when a dude on a motorcycle drives over a car (directly reminiscent of that camera rising above a body on the bar in "Blood Simple") or those energetic, rapid steadicam shots that are lifted from Raimi.

It's a charming, guilt-free comedy at no one's expense (unlike the mean-spiritedness and superior snobbery of films like "Fargo," where Jonathan Rosenbaum dubbed Frances McDormand's character the Coens' "pet hick"). It's shameless slapstick.

When Cage (the ex-con) and Hunter (the ex-cop) get hitched, they decide to snatch one of Nathan Arizona's little quintets; after all five is much too much for one family. The two get attached to little Nathan Jr., and Cage (his name is "H.I.," as in Hudsucker Industries) has these two buddies (John Goodman and a porky, hilarious William Forsythe), escaped convicts almost literally burped out of the ground, that have their eyes set on Nathan Jr. as well.

Cage is wacky and offbeat, a young, virtually unknown at the time the film was made (probably still trying to shake off the nasal Gumbi accent from "Peggy Sue Got Married"). He's still got that renegade actor quality to him, that over-the-topness that's not quite honed enough, but it fits the material perfectly.

The film is in the tradition of their goofball charmers like "The Big Lebowski" and "O Brother, Where Art Thou?" -- not as hilarious as the first, and not as episodically plotted (or clever) as the second.

The pleasures here are in the innocent sight gags and dialogue -- Cage's grungy, just-about-mullet and mustache, Goodman's sideburns, Frances McDormand's quick appearance as a white trash wife to Cage's boss. Then there's this oil-covered, apocalyptic bounty hunter intent on collecting the reward for the stolen baby.

By the time the movie's over (it's a quick 90 or so minutes), a baby's been stolen, some animals have been shot, a man's been attacked by dogs, some people have been shot at, and someone held a grenade too long -- and it's the Coens' most innocent movie to date. You could almost say it's tender and sweet.

***

Pure lunacy is what Raising Arizona is. It's got everything you could ask for in a film; kidnapping, jailbreaks, Hell's Angels, explosions and guns, guns guns. Nic Cage is great in the role of a very befuddled conveniance store robber who falls in love with Holly Hunter's Ed. Throw in John Goodman and William Forsythe as a couple of car stealing, bank robbing brothers and you got yourself scenes that will make you giggle when you think back about them. The entire state of Arizona seems trigger happy in the Coen's eyes. Clerks, cops, and crooks pull out firearms and let loose like the finale of the 1812 Overture. Plus, where else can you hear really good yodeling?

Parentless recidivist H.I. regards prison as his home. No matter it is a partiality or a revenge in his own words, he robs convenience stores; he goes to jail; he talks nice to a parole board; the cycle repeats itself. And finally falls in love with a policewoman, ED. Life goes easy on them at first. They bask on the folding chairs, dreaming to have a youth to share their thoughts and feelings.Then the story abruptly turns sad. ED.is barren. what should they do?

Tempe is a rock place that bears women deprived of the happiness at conceiving babies.Their wombs are barren and hard like the rocks in the desert. Florence,Dot and ED are the victims of the metaphor.One takes fertility pills,another adopts orphans,the other after being turn down adoption,steals a baby named Nathan Jr.

Nothing could be more exciting than a rebirth. The film tells us what a rebirth is like. Push hard through the saturated mud above your head at the 99% risk of being stifled to death. One second delay would be too late. That's Gale and Evelle's narrow escape from the jail. It sounds surrealist. But that's Coens's wit lies. They twist reality and exaggeration into knots to spin our noggins.Snatching a packet of diapers in a convenience store can be a life-or-death chase scene, without mentioning the leather-clad,bonehead,bounty hunter Biker, who can browbeat nothing except little animals.

Troubles arrive in sequence. That's the way the life is. At the end of the film, H.I. and ED returns the Nathan Jr.to his parents.It doesn't belong to them and will never be theirs.Why not keep the dream of having kids go on? If H.I.'s dream of the hellion Biker is not a phantasm, his dream of being blessed with descendants might come true some day.

In despite of the superficially hilarious scenarios, it is a sad story to the marrow. H.I. and ED's sorrow is not skin-deep and can be felt by any of us who puts heart into this film.