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In the category of satire, no other film has been as aggressive or socially important as this one has been. Rated as one of the 10 funniest movies ever made, the screenplay and plot take every opportunity to make fun of the ignorance, past and present, of white racism in its most ridiculous context. But in addition to covering the issue of racism, the movie also brings to satirical accountability other sensitive social issues that were not only present in 1974, but that were present way in the past and far into the present. At some point in the movie, all of the sensitive hush hush social issues were somewhat abused.

The targets of a scathing satirical call to rational accountability by Mel Brooks include a little of everything. "Dock that chink a days pay for napping on the job"; "Can't you see that this man is a ni... !"; "Bah-dgesss! We don't need no stinkin' bahd-gesss!"; "Ready faggots! 1 and 2 and...." and "look girls, they've hit Bunny!", etc. Many more social nuclear warheads were detonated in the many different scenes in this ground breaking landmark film. All of the characterizations were memorable by all of the main characters. But among them, Madeline Kahn must be mentioned as perhaps the funniest, with her quasi Marlena Deitrich and saloon stage presence rendition of "I'm Tired". But, as mentioned before, the main brunt of the satire was the ridiculously stupid white cowboy racial mentality, and the closed mindedness in which he lived in small town western American in the late 1800's. "Howard Johnson is Right!".

In being taken aback and totally absorbed by the satirical tonality of this monumentally innovative story, we tend to overlook the plot and scenario where the actual premise of the movie is based. From the very beginning, we western fans knew that this was all about the western genre itself, in all of its glory, and the pride of them all, High Noon, from 1954. Even Frankie Laine in the opening musical introduction made the movie hilarious. He sang "Blazing Saddles" with the same gusto that he did when he sang High Noon 20 years before. Right from the very beginning, and all the way through to the end, the western genre fanatics were laughing and rolling their eyes with glee. The icon of the American Western, with all of its merciless clichés, brought to its knees in 93 minutes.

This film deserves only the highest praise on many accounts. Most notably, the courage with which it portrays the social absurdities of today, then and now. In 1974, it was outrageous; and today, it's still a classic. "You'd do it for Randolph Scott!".

One of the many reasons that this film and story was so successful, is that it offers a true depiction and glimpse of part of depression era life in the deep south. It also offers a taste of that culture, social mannerism and behavior that is very interesting. As opposed to sliding by with approximating the southern personality, the director was able to pinpoint and authenticate the southern character and mannerism almost perfectly. It shows that everyone in the production either did their research, or came from that region of the country originally.

Homer's Oddessey was well adapted to the time and place depicted here. Just the right amount of pathos, irony, comedy, hard luck, and hard times give the principle characters something to really work with. And all of them have accomplished this in excellent fashion. John Turturro, particularly, has accomplished the quintessential down on his luck southern boy so well that he is almost the standard prototype of all time.

In addition to showing a historically accurate picture of southern rural life in the 30's, the film also deals briefly with the then condition of the Ku Klux Clan and its psychotic cultural behavior. We see, in this adaption, that the average African American was not hated and hunted down by all white men, but only by a small percentage of fanatical tribesman. It also suggests in a more masked way, that the Clan's behavior was highly influenced by a gangster mentality. Many of the participants in this behavior would not behave that way on their own, but only when masked, and in a large group. Sort of like sheep. For the most part, people of all colors were willing to get along at that time. But like today, race relations still had a ways to go.

Another treat was the depiction of the prison chain gang. Although not shown quite as hopeless and harsh as in Cool Hand Luke, Oh Brother does touch on the helplessness an inmate must feel, albeit done with a humorous slant. In this film, inmates are observed getting along well with each other, accepting their state of affairs, and working away without too much worry, frustration and fatigue. In real life, the chain gang was brutal, to the point where many of the inmates were on the verge of collapse almost everyday.

Finally, since this observation is mostly about the depression era south, it was very enjoyable to experience the progress of the music of the region and the period, when the bluegrass style was in its infancy. The "Soggy Bottom Boys" were great, as was the audience they played for. This was simply another feature of this film that was done precisely as it was when the story takes place.

For anyone who has not read the Oddyssey, or has not been in the deep south, or just wishes to enjoy a story well researched and well presented, then this is the story for him. It is an enjoyable film from start to finish, with flair and creativity to spare.

The real star of this drama is the story, and the script. Costner's portrayal of a highly complex, sometimes tortured, character is superb in that he is seemingly always in control, always one step ahead of the challenges. One of the best stories in some time, this one covers all of the bases in a satisfying way, keeping the viewer completely involved from start to finish. There are just enough plot twists, blended seamlessly with just the right amount of predictability, to make this story completely believable, and totally satisfying.

Mr. Brooks, Mr. Citizen, is a soft spoken, highly intelligent man of the community, always in control of his job and family, despite the adversities he faces throughout the movie. Very enjoyable is the intricacy, detail, and discipline he is able to maintain throughout the chaos that befalls him throughout the entire plot. His total control of all of the challenges almost makes him a super hero in terms of skill and control in the performance of his self assigned, gruesome tasks at hand. The blending of his alter-ego, bad conscience side, Marshall, is seamlessly accomplished in this psychological escapade, to the point that one almost has to root for "them". Marshall, although the psychopathic side of Brooks, is almost likable, in a twisted sort of way. The ongoing dialog between the two is perfect, in that almost everyone can relate to conscience issues at some point in their lives.

The added sub-plots concerning detective Demi Moore, the would be wanna be killer Mr. Smith, and the ex-gold digging husband and his attorney, are extra, intriguing elements that are very well done. Though told with a considerable dark tonality because of the theme, one finds himself cheering for Mr. Brooks and his incredible ability as a master craftsman. Ironically, one can also cheer for the detective that is out to capture him.

If you are ready for a story that is intriguing, suspenseful, gripping, and present day, then this movie is a good place to start. Costner, Moore, Cook, and Hurt are all splendid. Each one is intense, tormented, fun, and believable in his respective role. Another positive feature about the storyline, and it's conclusion, is that it lends itself to, perhaps, a very interesting sequel potential. Kudos to the directors, producers, and entire cast.