Directors: Joel and Ethan Coen
Release Date: February 5th, 2016 (US); March 4th, 2016 (UK)
Genre: Comedy; Mystery
Starring: Josh Brolin, George Clooney, Scarlett Johansson, Alden Ehrenreich
Hail, Caesar! might as well be a sequel to the Coen brothers’ early-90s writer’s block masterstroke, Barton Fink. The filmmaking duo are back on familiar turf, their gaze once again fixed upon their own industry, only this time it is an exploration of post-screenplay life. Set in 1951, a decade after Fink, we re-enter the mania of motion pictures during a time of internal and external struggle; as studios lose control within the self-contained confines of Hollywood, the real world is dealing with political crises and threats of nuclear decimation. Thankfully George Clooney, Channing Tatum and Scarlett Johansson are on hand to spread some joy.
Even those wary of their thematic craftsmanship or storytelling abilities must hold the Coen brothers’ world creation to the highest of standards. Here, the duo conceive Capitol Pictures (another Fink throwback) in all of its glory: bombastic sets tinged with old charm; backlots bearing their own gravitational pull that revolve around the movie star present — when interested parties hear Baird Whitlock (Clooney) will be starring in their feature, the reaction is an audible “oh my”. And office doors get in on the excess, wearing flashy, golden-chrome nameplates. Cinematographer Roger Deakins, fresh from stunning work in Sicario, shoots the grandiosity with skill and a sense of cosiness. It all just looks right.
The studio system is on its last reels and given the aforementioned extravagance, it is plain to see why. The social zeitgeist is one of populism, of westerns and biblical epics designed to quell the moviegoer’s fear of Communism and nuclear war if only for a few hours at a time. On a side note, Hail, Caesar! and Trumbo might make a worthwhile double-bill as here we are introduced, teasingly, to the Communist cause without ever delving far into its core. The Coens are interested in the production line, the behind-the-scenes craziness, of which there are many components — too many for such political allegiance to warrant thorough analysis.
Eddie Mannix is the common thread binding those components, superbly played by Josh Brolin (straddling the line between aloofness and competence). He is not a moral man, or so his cigarette-decrying priest would have him believe. He is a studio fixer, that is, a liaison between star and head financier. As the story progresses Mannix increasingly takes the form of a walking, talking manifestation of movies as life’s be all and end all, therefore false pretences must be upheld and personalities must be moulded to suit the needs of a fearful America. “The public loves you because they know how innocent you are,” Mannix informs Johansson’s DeeAnna Moran. She is pregnant and single, which is obviously a problem.
Less of a problem is the town’s new personality ready for shaping, that of proverbial cowboy star Hobie Doyle (Alden Ehrenreich). He is an amiable up-and-comer who has plied his trade horse-riding and lasso-snapping, though the Capitol leaders wish to broaden his appeal. Of course, the kid has no experience in dramatic acting, especially not in delivering the mirthless chuckles and ruefulness ordered by his new, pompous director Lawrence Laurentz (Ralph Fiennes in fine cameo form). Regardless, Hobie will be the next big thing because that’s what Mannix wants, and on the basis of his performance, Alden Ehrenreich will be too.
The movies we see in production adhere to a culture of emboldening, where lighting cues are so obviously artificial you cannot help but laugh when they announce themselves, and where acting is defined not by subtlety but by overemphasis. Clooney, playing the easily cajoled A-lister Baird Whitlock, is a master at such overemphasis: an early scene in which he is drugged by two plotting extras, the real life version of Pain and Panic from Hercules, ought to rouse significant amusement at the behest of his delayed water guzzling. It is a delay brought on by the actor’s strenuous effort to convey the hilarity of a joke, of course.
Whitlock spends the entirety of the film wearing the same gladiatorial costume and Clooney answers by sauntering like a Roman solider, sword a-swinging. We get those idiosyncratic moments, Coen watermarks, side quests not related to the central storyline but that are an absolute hoot to watch: two of the best in Hail, Caesar! involve a raucous religious rabble and an impromptu enunciation lesson. There is a sequence in the third act during which the piece knowingly gets ultra-meta: a late-night drive is montaged, scored by brass, Dutch angles invoked. It is like watching a movie within a movie about classic Hollywood movies.
Perhaps the need to accommodate as many kooky industry strands as possible means the film can’t be as richly textured as the Coens’ previous outings (although there are similarities with Barton Fink, deep thematic layering isn’t one). However, you are hoisted along with so much momentum by waves of nutty humour that it is almost impossible not to revel in it all. You find yourself gleefully anticipating the next big, showy scene, expecting it to topple the last in levels of arrant silliness — a high bar awaits tap dancing Tatum, though he sails through with flying colours.
Mannix spends time considering whether or not to ditch his Hollywood gig and assume an executive position at the aerospace organisation, Lockheed. A salesperson from the company occasionally appears, looking to coax Mannix into signing on the dotted line. “I’m sure the picture business is pretty damn interesting, but I’m sure it’s frivolous too,” the Lockheed man says. He’s right, in a wider world context, on both counts. Fortunately, thanks to movies like this and filmmakers such as the Coen brothers, that which is interesting far outweighs that which may be frivolous.
Images credit: IMP Awards, Collider
Images copyright (©): Universal Pictures
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