Robogeek had to sound off on THE BIG LEBOWSKI, so I figured, what the heck, the guy can sit there and say the same thing 834928472 times without a change in tone, I better do what he says. Damn psycho. Anyway, here's his review...
Greetings, citizens!
I, Robogeek - fresh from a sarsparilla lube - have returned to impart upon you my review of the Brothers' Coen new film, THE BIG LEBOWSKI. Prepare to awe at the run-on sentences!
"The Big Lebowski" centers on a character known as The Dude. After seeing this film, it got me thinking. All of us, at one time in our lives or another, have encountered someone with the mythic, mysterious qualities of the dude. I know I have. Allow me to digress...
Once upon a time, way back when ol' Robogeek was in high school, there appeared an entity known only as Chuck. The exact point in time when we all took notice of his presence is a matter of some dispute, but the basic story has become one of widely accepted folklore in parts south of Redgate.
One day, in Mrs. Ochoa's algebra class, Fito [more on him at some later date] noticed some new kid in the back of the room. He'd been around all semester, but his presence was relatively unobtrusive. With each passing day, however, the class became increasingly consumed with insatiable curiosity regarding him. On this day, at some point in mid-fall, Fito just couldn't stand it any more. With his usual aplomb and dramatic air, Fito finally stood up, turned around to face the mysterious stranger, and asked on behalf of all in attendance:
"Who ARE you, man?"
A hush fell over the class. Mrs. Ochoa's chalk fell silent and immobile. All eyes were transfixed on this oddly magnetic and potent presence sitting quietly in the back row. He looked up from his desk, gazed at his incredulous classmates, and simply said these words:
"Aw, Dude! I'm Chuck, dude!"
After which all our lives were forever changed.
Chuck went on to do many Great Things. He founded the 45 Degree Angle Cult, creating its Three Holy Rules. He inspired the infamous Chuck Rap, which years later would be performed at our graduation party and recorded for posterity. He starred in the ill-fated pilot of "Chuck's Celebrity Hot-Tub Party," bootleg copies of which are now priceless. He would infiltrate the Presidential Palace in San Juan, Puerto Rico, shooting amazing footage with his Fisher-Price PixelVision camera that would later be lost for all time due a terrible accident caused by his sister. He would wax poetic about his favorite band, RUSH. And, yes, there was the incident with the ditch - which was immortalized in the aforementioned Chuck Rap.
All the while, Chuck was ruled by a basic dictum - all are Dude. He referred to everyone - regardless of gender, age, class, religion, or race - simply as "Dude." He even referred to animals and inanimate objects as "Dude." It was all part of his worldview, that we are all one - we are all the universe incarnate. At least, I think that's what he meant. He might have just been nuts.
Chuck's words of wisdom have since been transmitted across time and space by his many disciples. Fito, for instance, now lives in Boise. J.D. fights the good fight in Indiana. Dieter works for the Texas Department of Transportation at a location I am not at liberty to disclose. The Unknown Palestinian is doing his part to save Apple. And yours truly spreads the gospel here in Austin. And, in some strange, cosmic way, I sensed the presence of Chuck in "The Big Lebowski."
"The Big Lebowski" opens with soothing, deep narration by The Stranger, played by Sam Elliott, as we follow a tumbleweed into the story itself. In one of the many brilliant and masterful uses of music in the film, "Tumbling Tumbleweeds" plays over the opening in its classic version, then smoothly transforms into Muzak as we cut to The Dude shopping in a grocery store. Beautiful.
Basically, the plot is set in motion by the simple fact that The Dude (Jeff Bridges) is mistaken for wheelchair-bound Pasadena millionaire philanthropist Jeffrey "The Big" Lebowski, whose trophy wife and alleged porno actress Bunny gets kidnapped due to her outstanding debts to Jackie Treehorn, whose thugs bust in on The Dude's pad (thinking he's the Big Lebowski) and proceed to piss on his favorite rug with impunity.
Now, this isn't just any rug, mind you - it tied the room together, man.
The Dude figures out the mistake, and heads to the Lebowski Mansion for recompense. The Big Lebowski proceeds to hire The Dude to deliver the ransom, which gives The Dude the chance to earn some easy cash.
All The Dude wants is his rug back, man. It's that simple. And it's that very simplicity that is the beauty at the heart of the film. (Sorta like how Christophe Lambert's Fred only wants to start a band - a small one - in Luc Besson's "Subway.")
The Dude has two friends - the unstable, heat-packin' 'Nam vet Walter (John Goodman) and the perpetually clueless ex-surfer Donny (Steve Buscemi). They tend to spend their time bowling in Venice, CA, where the trio valiantly fends off bitter rivals led by convicted sex offender Jesus (John Turturro), who - with the aid of the Gispy Kings - has one of the greatest character introductions in film since, well, Kate Winslet in TITANIC (though that's certainly where the comparison stops).
Mind you, the film is not about bowling at all; that merely serves as a backdrop to our protagonists, framing their existance in a metaphysical context. Actually, the more that I think about it, in this way it's not entirely unlike TITANIC - though the bowling alley never sinks.
As the story unfolds, we are also confronted by a band of raving nihilists and a bunch of pornographers. We also encounter feminist artist Maude Lebowski (the Big Lebowski's daughter), played by the ever-wonderful Julianne Moore. What a treat to see her in such an offbeat, comic role! Delicious.
But you know what? This whole movie is a treat. It's a fantastic showcase for a brilliant array of actors, who all get to play something new and different. Goodman absolutely goes to town with his role, and is a real stand-out, stealing the show. (And yes, that line/mantra of his that Joe and Harry mention will certainly be long-remembered - even if I choose not to quote it here.) The always brilliant Buscemi takes what, in lesser hands, could have faded into wallpaper and makes it a memorable role.
And then there's Bridges, who seems to be forever underrated. He shines as The Dude, completely transforming himself into this unforgettable character - one of the coolest I've seen in a long time. This is the first Coen Brothers film I've seen that I really wanted to see a sequel to afterwards, I liked the characters so much.
If you haven't figured it out yet, I loved this movie. It made me happy. Sort of like a cross between David Lynch's "Wild at Heart" and Luc Besson's "Subway" as if written by Raymond Chandler on pot. I simply haven't had this much sheer fun at a movie in a long time.
Since seeing TITANIC, everything else has seemed utterly insignificant. "The Big Lebowski" is the first film of 1998 that has gotten my attention (although I haven't seen "Dark City" yet).
Kudos to Director of Photography Roger Deakins and Production Designer Rick Heinrichs for outstanding work. This is a great looking film. Similarly, The Dude's dream sequences are (for the lack of a better word) a trip. Great stuff. Love 'em.
In many ways, "The Big Lebowski" is a more approachable film than "Fargo," and well deserves to be a hit. I only hope the powers-that-be have the confidence to market the hell out of it, and the intelligence to sell it for what it is. I was really surprised by how accessible it is. And while I think I'll wait until I see it a second time, I'm tempted to declare it my favorite Coen Brothers film. (It's definitely in my top three.)
Which brings me to something I must address - Joe Hallenbeck's review. To Joe, I must ask one simple question:
Are you on crack?
Joe criticized "TBL" for lacking a plot. I have to wonder if Joe was paying attention. It is pretty clear that TBL was modelled on classic Raymond Chandler (especially "The Big Sleep"), subtly transposed in a highly inventive way. Everything makes sense if you pay attention, and it flows quite brilliantly. And while it may lack a traditional climax, I found the ending to be boldly inspired, quite satisfying and charmingly funny. Overall, though, my main counter to Hallenbeck's review is this - _nothing_ in this movie sucked! Not a damned thing! And, yes, Joe, as much as you refuse to admit it, there is such a thing as "character driven" rather than "story driven," and it ain't necessarily a bad thing. To compare the quality of storytelling in TBL to ID4 just tells me that you either a.) weren't paying close enough attention or b.) are on crack. Calling "The Big Lebowski" "incomprehensible" is criticizing the limits of your intellect, not the film.
As for Chuck, well, his whereabouts are a mystery. He's been sighted in Austin, from time to time, but there are those who say he moved to Panama to get married, went to Corpus Christi to fish, or simply ascended to a higher plane of existence. I dunno. While we continue our quest to relocate him, a shrine to him is under development, which should soon see the light of day over at www.perchance.com - but don't hold your breath.
In the meantime, I've gotta tell ya - if you wanna see a truly cool web site for a movie, check out www.lebowski.com. Great design, and an inspired use of sound. It provides a wonderful taste of the movie, with loads of QuickTime clips. It really captures the film's sense of whimsical fun.
IN SUMMARY: This is a film that rewards close attention, and deserves yours. See it. It will make you happy.
Meanwhile, I'm gonna grab another sarsparilla and go bowling.
Robogeek abides.
Visit Robogeek online at http://www.hotwired.com/members/profile/robogeek/ or e-mail him at robogeek@hotmail.com.
