The Big Lebowski (1998)

Acting is one of the most key elements to success or failure of a film. Some film types can survive without superb acting. These motion pictures can entertain the viewer with special effects or intense action scenes. A film based on heavy dialog and back-story can not survive with out excellent actors. One such movie that meets the dialog-based criterion is The Big Lebowski. The film follows Jeff 'The Dude' Lebowski (Jeff Bridges) and his two close friends through a not so normal chain of events. The story is augmented by the supporting characters Walter (John Goodman) and Donny (Steve Buscemi). Written by Joel and Ethan Coen, the creative forces behind Fargo, the intriguing story succeeds because of the actors' impeccable skill.

As with many other films by the Coen brothers The Big Lebowski is an odd array of out of the ordinary characters slapped right in the middle of an improbable situation. The Dude is an unlikely hero living in the city of Los Angeles who becomes embroiled in a botched kidnapping. This is not the average kidnapper comedy that has been seen a thousand times before. The Coen brothers take a fresh look at an old tired subject. The story they have created is intriguing and entertaining, but the true entertainment comes from the unique characters. Walter, played by John Goodman, is a Vietnam veteran who seems to have some parts of post traumatic stress syndrome. Donny, another one of The Dude's close friends, is a quiet unassuming character who often interjects into conversation, but no one pays close attention to what he says.

As well as these characters are written, they would not be as effective had they been played by other actors. This effectiveness of acting can be seen in the opening scene at the bowling alley where the supporting characters are first introduced. This scene is comprised of Donny, Walter, and The Dude sitting at their lane in the bowling alley discussing the attack on The Dude by some hired thugs (7min 25 sec). The Dude is approaching the situation in his usual lackadaisical way. Jeff Bridges conveys The Dude's overall demeanor in his laid back, sauntering, walk. Although being laid back, Bridges is direct in his speaking showing that The Dude is not the average confused old stoner. Bridges facial expressions during this scene show The Dude is distressed about the loss of his rug which 'tied the room together.'

Donny seems to be an outside observer in this scene and throughout much of the film. Buscemi conveys his character's attention during discussion by following the flow of the conversation with his head. He looks from The Dude to Walter and from Walter to The Dude depending on who is talking. He may seem to be paying attention, but his asking of simple questions dispels this assumption. Another technique Buscemi uses is while he is observing the conversation he furrows his brow as if in deep thought and contemplation. This look of concentration is juxtaposed with the look of confused happiness, an empty smile, Buscemi uses when Donny makes a point in the conversation. These techniques which are introduced by Bridges and Buscemi early in the film are used throughout the entire picture.

Although Bridges and Buscemi do an excellent job of introducing their characters traits to the viewer, Goodman superbly shows his character's inner traits. Throughout the conversation it is apparent due to dialog that Walter is becoming upset. Goodman conveys this anger with facial expressions and body movement. In the early part of the

Fmovies: The Coen brothers (Joel and Ethan) are the most innovative and, perhaps, the best filmmakers working today. Or they at least rank along side the likes of Martin Scorsese and rising director star Quentin Tarantino. Think about it: "Blood Simple" was the best film of 1984; "Raising Arizona" was the best film of 1987; "Miller's Crossing" was the best movie of 1990; "Barton Fink" was the best movie of 1991; and "Fargo" was the best movie of 1996. Now comes their latest effort, "The Big Lebowski," which, while it isn't in quite the same league as the above films, is still one of the most thoroughly entertaining movies of 1998.

It tells the shambling story of a man named Jeff Lebowski, who calls himself The Dude (Jeff Bridges). The Dude's apartment gets broken into and a thief urinates on his rug. He finds out that the criminals were not looking for him, but looking for the OTHER Jeff Lebowski, the disabled millionaire (played by David Huddleston). That's all I can tell you. The rest is really too bizarre and complicated to put into words; but it's bizarre and complicated in the best ways of the words.

Still, what I'll remember most about "The Big Lebowski" is the outstanding number of utterly terrific performances. Bridges delivers the best performance of his career and probably the best of the year as a bum lie-about who just wants to be left alone. John Goodman is the real comic gem here as the forever-loudmouthed Walter, The Dude's bowling partner and best friend. Steve Buscemi co-stars as the dimwitted, bug-eyed Donny, the third bowling partner; there's a small but interestingly offbeat spot for Julianne Moore; and John Torturro stops in, as Jesus the bowler, for what is probably the best walk-on performance in years. If you are a Coen brothers fan or like humor that is distinctly offbeat, you have found your movie. As a rather avid moviegoer, I found the film to be a great excersise in pointless extremeties and respectable raunch. Rated R. 117 minutes. 10 out of 10.

I'd heard a lot of bad press about this movie. Not as good as Fargo, was a much used phrase. I wasn't overly impressed with Fargo, the atmosphere just didn't click for me, but anyway, that made me a little apprehensive about this.

It's easily better than Fargo, IMHO, and it's right up there with Barton Fink or Miller's Crossing. A true comedy classic with so many memorable lines and characters, but it's the movie's atmosphere which is so truly joyous, a wonderful celebration of basically doing nothing. Achieving one's goals is important, yes, but it's okay to set them low, is what I perceived this movie to be saying. As long as one is basically a good guy, then that's enough. Well, that's what it seemed like to me, and it was expressed so beautifully in the stunning cast of grotesques, lovely music ( although more Burwell would have been nice ), and the trippiest, funniest, most absurd dream sequences you've ever seen. Great stuff.

The Big Lebowski fmovies. The Coen brothers are up there with my very favorite filmmakers (Scorsese, Kubrick, Carpenter). I am very fond of their work. Throughout their irreverent career, they have explored different subjects and themes. Their best stories evolve from kidnapping schemes in films like "Raising Arizona " and "Fargo", one of my very favorites. I thought that film was fervently free. I was so ever wrong. It's as if the Coen Brothers have celebrated their complete breakthrough success (Academy Award winners), and now are willing to do whatever they please. "The Big Lebowski" is a film so meandering, so wonderfully novel, that I found myself missing the many other sporadic jokes as I was heaving from laughter. The film is basically about mistaken identity, eccentric characters, and a soiled rug. This film extols the bowler, the allies, even the pins. We experience an actual bowling ball POV, as the Dude (Jeff Bridges) hallucinates. This film has nihilists, feminists, millionares, paedophiles, drugged out hippies, underachieving students, incompetent criminals, pornographers and 'Nam veterans. This movie is open to anything , anything... Some people are turned off by absurd looniness, because it's so grandiosely different. Yet who couldn't chuckle, if not explode, when a bowler dressed in a tight purple suit licks a bowling ball's finger hole, and the camera pans down to reveal his name as Jesus! I will disclose no more, but urgently recommend you to traverse to your nearest video abode and rent this true escapists' feature. Abandon all solemn inhibitons, though! One can not keep a straight face whilst watching.

How mysterious certain films can be. They become addictive. I've seen Lebowski at least a dozen time and most of the times by accident. It was on TV or a friend is watching it and it is enough to catch a glimpse to be hooked, completely hooked. Last night I saw it on purpose with a couple of friends and I think I'm stating to realize what is it - A unique combination of talents all looking in the same direction --- The Coen Brothers are, probably, the only ones who know what they are seeing and the rest just trust their vision. Totally. Jeff Bridges is miraculous. His character is unique, never seen and at the same times is all of Bridges characters put together. I love him in this part and I love the Coen brothers for writing it knowing, I'm sure, that Bridges was going to give it that real, totally real surreal kind of life. Philip Seymour Hoffman, comes in to do what he does best, being memorable and then, of course, John Tarturro, John Goodman, Steve Buscemi, delicious, each one of them - I'm pretty sure The Big Lebowski will be around for centuries and it will always have something to say even if we don't know exactly what.

No movie has entertained me more in the last year than this film. It's delightfully written, directed with poise and acted with extravagance and excellence. I do admit that this is a film that I had to see six times to get. Every time I watch it I learn something new. The genius of the film lies within a game I think the Coen brothers play with their audiences. There are the touches of the masters in many of their films. In "The Hudsucker Proxy," it was Preston Sturges and Frank Capra. In "Raising Arizona," I felt a touch of Sam Fuller. In this film, I felt many touches of greatness, but more specifically I felt John Sayles or even John Cassevettes in spots. The camera was manipulated beautifully and I felt a tinge of their talents lurking in at many a turn. The performances are astounding, especially Goodman as the deranged bowler still living deep within the jungles of the Vietcong. Huddleston is also quite wonderful as the title character. Turturro gives a fine cameo as "Jesus," coupled with a rousing and humurous version of the Eagles, "Hotel California," done in Espanol. I hope this is a film that is looked at with more seriousness. It is, once you dig deep, a fine piece of filmmaking.