The Coens have always had a remarkable visual style, tending toward overwhelming architectural detail -- long corridors, odd interior decoration, forced perspectives, lonely vistas, lurid cityscapes. Even in ostensibly realistic settings, such as the suburbs of "A Serious Man" (2009), they like to insist beyond the point of realism. Their suburb is the distillation of Suburbhood. In "The Big Lebowski," their anchor location is the bowling alley, their dominant colors what might be described as Brunswick Orange and turquoise. The alley is strangely underpopulated, its lanes vertiginous in length. There is one POV shot from within a rolling bowling ball. When Jeff hallucinates or is unconscious, he inhabits bizarre fantasy worlds.
One of their fellow bowlers is Jesus Quintana (John Turturro), a man who has converted himself into an artwork in his own honor. Another trio of supporting characters, the Nihilists, is led by Peter Stormare (who played the man feeding the body of Buscemi into the wood chipper in "Fargo"). A considerable role is played by Philip Seymour Hoffman, as Brandt, the worshipful assistant to the Big Lebowski. Some of its fans have seen this movie dozens of times. I suppose they've already observed that that Hoffman and David Huddleston, who plays the Big Lebowski, bear a strong family resemblance. Someone knowing nothing about the film could be excused for suspecting that Philip Seymour Hoffman plays both characters, the older man with skillful makeup effects. A coincidence? I would not for one moment put it beyond the Coens, Ethan and Joel, to encourage this misapprehension. I suspect they cast Huddleston for the physical resemblance.
The film is all about Jeff Lebowski's equanimity in the face of vicissitudes. He is pounded, water-boarded, lied to and insulted. His rug is pissed on and his car set aflame. He is seduced by a woman who wants only his seed. He has a fortune dangled before his eyes, only to have it replaced by telephone books and used boxer shorts. To heal and keep himself whole he stirs himself another White Russian, has a toke, sits in a warm bath. Like the Buddha, he focuses on the big picture.
The film is narrated by The Stranger (Sam Elliott, never more gloriously mustached). It is he who observes at the end that the Dude Abides, and says he hears there is a little Lebowski on the way. The Dude however is denied matrimony, and indeed seems to have no women at all in his life, except by lucky chance. Does this depress him? Is he concerned about being chronically unemployed? No. If a man has a roof over his head, fresh half-and-half for his White Russians, a little weed and his bowling buddies, what more, really, does he need?
"Dude, Where's My Breakfast?" --my blog entry about the rumble at Sundance 2009:
http://blogs.suntimes.com/eber...
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