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Arts & Entertainment
the Racquette
March 18, 2016
Review: “Hail, Caesar!” Reigns Quirky Jay Petrequin, Editor
Joel and Ethan Coen have an interesting place in the film world as quite possibly the most popular director duo — as a singular unit — currently in the medium. Ever since the early 1990s, the Coen brothers have been creating films with a certain unique style to them. With movies like “Fargo” and “The Big Lebowski” forcing groups of quirky, unique characters into interaction with each other, the duo has a clear signature style. And signature is exactly what “Hail, Caesar!” the latest Coen brothers co-production, is best described as. “Hail, Caesar!” loosely follows Eddie Mannix, played by Josh Brolin, who serves as the head of physical production at fictional movie studio Capitol Pictures. Mannix is a man on the brink of leaving the film industry for something easier, as work pressure rises. The character has to deal with things like a secretly pregnant lead actress, played by Scarlett Johansson, a problematic shift in image for a young western film star, played by Alden Ehrenreich, and most significantly, the sudden disappearance of star actor Baird Whitlock, played by George Cloo-
ney, midday through filming for “Hail, Caesar!” the fictional film for which the movie itself is named. With so many things going on at once to put pressure on Mannix’s character, it may not come as too much of a surprise that “Hail, Caesar!” feels very scattered as a whole product. The film will take long periods of time to focus on characters whose paths are seemingly unconnected, and will occasionally linger on other productions being filmed at Capitol Pictures. Eddie Mannix is in the film enough that we as the audience recognize him, and follow his story just as much as those of the other characters, but not enough so that he feels like the center of the action. In fact, sometimes the audience has to be forcefully reminded as Mannix’s main character status by a narrator, who pipes up so seldomly that it’s sometimes easy to forget he’s part of the movie. Scattered nature aside, “Hail, Caesar!” is still full of situational humor, and dialogue that breeds comedy through the classic Coen brothers quirks. Something common throughout most of the duo’s filmography is the art of characters who are inherently humorous, simply via their personalities in reaction to whatever situations they are put in. When
Clooney’s character is kidnapped by a secret communist cell organized by a mysterious leader within the entertainment industry, he is held ransom by characters who bounce quirks off of each other, and who draw a certain side out of Clooney’s character himself that is very entertaining to see. “Hail, Caesar!” shines as a character comedy, and each character gets their moment to glow. There are some pacing issues in this, though, as sometimes characters will be lingered on for much longer than is necessary, or are forgotten altogether near the end. There isn’t very much of the dark humor typically found in many Coen brothers films, the writing instead taking on a tone almost akin to a Woody Allen movie.
“Hail, Caesar!” shines as a character comedy, and each character gets their moment to glow. “Hail, Caesar!” is also visually compelling, largely by virtue of being a film about filmmaking.
Roxy Theater: March 18 - 24 The Divergent Series: Allegiant- Pt. 1 (120min) PG-13 6:50 p.m., 9:20 p.m. Nightly Matinees Sat, Sun 12:30 p.m., 3:00 p.m. Mon-Thurs 2:00 p.m. Zootopia (2D) (108min) 7:00 p.m., 9:15 p.m. Nightly Matinees Sat, Sun 12:50 p.m., 3:00 p.m., Mon-Thurs 2:00 Sun March 20 No 9:15 p.m.
PG
Zootopia in 3D (108min) Matinees Sat, Sun 12:30 p.m.
PG
10 Cloverfield Lane (103min) PG-13 7:00 p.m., 9:15 p.m. Nightly Matinees Sat, Sun 12:45 p.m., 3:00 p.m. Mon-Thurs 2:00 p.m. Sun March 20 No 7:00 p.m. Hail Ceaser (100min) PG-13 7:00 p.m., 9:20 p.m. Nightly Matinees Sat, Sun 12:45 p.m., 3:00 p.m. Mon-Thurs 2:00 p.m. Deadpool (108min) 7:00 p.m., 9:20 p.m. Nightly Matinees Sat, Sun 3:00 p.m. Mon-Thurs 2:00 p.m.
R
CINEMA 10 Presentation: Timbuktu (97min) Mon March 21 7:15 p.m.
PG-13
The Met Live in HD: Encore - Puccini, Manon Lescaut Sun March 20 6:30 p.m
Upcoming Events Friday, March 18: CPS presents Quilters the Musical PAC Black Box Theater, 7:30 p.m. Saturday, March 19: Madfest sponsored by Madstop Records Knowles MPR, 5-11 p.m. Doors open at 4:30 p.m., tickets are $5 Tuesday, March 22: Many Tongues/World Poetry Day Celebration Raymond Eigth Floor Dining Room, 6 p.m. Thursday, March 24: Coffeehouse and Open Mic Hurley’s, 7:30 p.m. (open mic to follow)
Whenever a scene takes place on a film set, many shots are angled to visually remind the audience that what they’re seeing is being filmed in-studio. This may sound intrusive in concept, but it actually works perfectly as it is done in the film. An early example is in the filming of the titular “Hail, Caesar!” Another character, an extra in a scene being filmed on an indoor set, is watching Clooney’s character from a lower position. The camera gives us the extra’s view, resulting in a shot where Clooney’s head and shoulders are backed by the line where the set ends, showing the various stage lighting shining down onto the set. The Coen brothers have directed the film to incorporate the set elements a viewer would never normally see, and do so in a way that adds to the visual effect of the film as a whole. It’s also worth noting that the film takes place in the 1950s, and sports visual flair and stylings of the era, down to characters’ wardrobes and the types of films being made at the studio. A final point to be made for “Hail, Caesar!” is its value to those who might consider themselves film buffs, particularly those with a deep affection for 1940s and 1950s-era film. Channing Tatum plays a musical film star who
performs a full musical number during a scene in the film, styled seemingly in homage to the works of Gene Kelly, such as “Singin’ in the Rain” and “An American in Paris.” Similarly, Scarlett Johansson’s character bears a strong resemblance to Esther Williams, known for such films as “Million Dollar Mermaid” and “Neptune’s Daughter,” the actress and swimmer often remembered as the “princess mermaid” of the era. Characters and callbacks such as these are an important part of the lifeblood of “Hail Caesar!,” and are an absolute delight for viewers with a fondness for the filmography of the time. Is “Hail, Caesar!” for everyone? Probably not. The film is scattered in focus, juggling characters’ stories unevenly and at times with little grace, and it’s pacing leaves something to be desired for those looking for a more unified story. For those who are simply fans of the Coen brothers, though, the film is actually something of a must, displaying signature quirks and styles while also bringing some new ideas to the table; ideas that might be elaborated on in future films. For those who yearn for something to remind viewers of the stylings of 1940s/50s film styles, there’s a bit of further value still to be found in “Hail, Caesar!”