#thecoens

[seasondays]

incluye notas

[jed-thomas]

The Coen Brothers

Monday Madness       Wednesday Wamblings       FRESHday (or, Friday)

I forgot to write a Wednesday Wamble. 

[jed-thomas]

True Grit

Monday Madness      Wednesday Wamblings       FRESHday (or, Friday)

                                                        Trailer

Director: Joel Coen, Ethan Coen

Cinematography: Roger Deakins

Screenplay: Joel Coen,Ethan Coen

Score: Carter Burwell

Starring: Jeff Bridges, Matt Damon, Hailee Steinfeld, Josh Brolin

I had to to watch this twice in order to get it. Although, whilst that may be criticism, I think its intrinsic to the Coen Brothers experience.

And emerging with the amount of love that I do for this film outweighs the amount of times that I had to view it to get such a feeling. It’s a downright beautiful film that deserves all of the praise that it received.

No one can replicate the magic of a Coen Brothers film. No one can match that gentle, lulling nature or the strength of every character that they create. No one can replicate a movie like True Grit.

True Grit follows the struggle of 14-year-old Mattie Ross (Hailee Steinfeld) as she searches for Tom Chaney (Josh Brolin), the man who killed her father, so that he can be brought to justice. With the help of “Rooster” Cogburn, an alcoholic and trigger-happy Marshall, and the dignified Texas Ranger LaBoeuf, the trio scour the Frontier for Chaney, leaving, largely thanks to Cogburn, a trail of bodies as they go and, as is typical in a Coen Brothers’ films, running into a whole host of weird and wonderful characters.

The joy of this film is in its characters. Be they main characters or inconspicuous villagers or vicious gangsters in the Frontier, all of them have been constructed with such clarity and invention that it is hard to believe that they are not the main focus of the movie.

In fact, Mattie’s relationship with Colonel Stonehill, a vendor, is one that I could watch for a whole movie. I’d even request a full, 5-season TV show, actually. Mattie and Stonehill. Their tense, combative relationship would blossom into something more beautiful than could have ever been imagined. A bond unbreakable. They could run the shop together! Well, for 1 or 2 seasons they’d be competing, obviously, or, at least for half of the first season, Mattie would be trying to scam Stonehill out of business to fund all of her wild escapades but then, they will team up to create the ultimate shop, combining Mattie’s sassiness with Stonehill’s stickler nature.  Of course, they will still be at odds, but with their shared business at stake, they’ll have to find a way to work together.

It’s perfect! I’m going to pitch this.

Mattie and Stonehill. Coming to TBS this fall.

And that encounter lasts maybe 7 minutes. I’m enthused about the prospect of a TV show starring a character that appears for 7 minutes. I may have exaggerated just a smidgen but, truly, the richness of personalities present in this film, and in all of the Coens’ films, is breathtaking.

In terms of its leading trio, the Coens have struck gold. Now, I know True Grit is based on a book and the book has already had a cinematic incarnation so there is already a wealth of inspiration to draw from. But, even with all this, the Coens do something special with Mattie, Cogburn and LaBoeuf.

Whilst it helps that these three characters are portrayed by three exceptional actors (especially Hailee Steinfeld, who seems utterly natural even when bookended by two cinematic powerhouses like Damon and Bridges), there is a joyous lovability to them all, right from the very beginning, and as the film progresses so deepens your affection for each of them. You continue to love them even as the ugly truth is revealed about them all.

Mattie is headstrong, naive and stubborn. Cogburn is violent, angry and careless. LaBoeuf is idiotically zealous, temperamental and foolish.

Yet, Mattie is smart, determined and unyielding. Cogburn is lonely, regretful and strong when it matters most. LaBoeuf is caring, daring and proud (If only there was one more ‘ing’-word).

Such a mature approach to character, whilst keeping them slightly cartoonish, is a testament to the Coen Brothers’ natural gifts for understanding and constructing cinema.

This film is refined, too. Not in some desperate attempt to keep you interested, for the characters are interesting enough to add on another 15 minutes, but for the sake of emotional power.

While films like Mr. Turner take the alternate route, by piling on the minutes as if they can somehow add weight, True Grit uses the mastery of its storytelling to smack you with that hefty left-hook as it concludes. This one really hurts, too.

This reasonable editing style leaves the film at a perfectly consumable size, prompting re-watches which, having seen this twice now, I thoroughly recommend. Length is always a deterrent for me to re-watch a movie, but with True Grit, I can enjoy it whenever I’d like. And, boy, do I want to watch it again.

I do have a little problem with it, though. Just a little one! It’s very small and it was diminished on second viewing.

But, before we do that, let me just put in a good word about all the other glorious aspects of this little film.

One of them being Roger Deakins’s gorgeous cinematography. Through his expertly-constructed visuals, he enhances the effect of the story with some beautifully orchestrated scenes which I won’t explain in too much detail but you’ll know them when you see them.

Carter Burwell’s bitter sweet, delicate score is another added treat in this film. “Leaning on the Everlasting Arms”, sang by Iris Dement, leads out this film in radiant, eye-watering brilliance, so pack some tissues for that.

And, finally, a quick comment on Jeff Bridges’s fantastically ragged performance. For I have never really seen any of his work before, apart from Tron: Legacy, so this really took me by surprise. The same can be said for Matt Damon but I’d heard great things about him whereas I have heard next-to-nothing about Bridges. His performance here is one which shows that he has an ability to turn an otherwise-unlikable character into one which you love without reason and love even more when there is a reason. I’ve got The Big Lebowski siting on my desk so I’ll get around to watching that as soon as possible. Hopefully, he’s just as good in that as he is in this.

So, the problem. Again, as with Mr. Turner, it’s the dialogue. The focus on creating period-specific dialogue leads to a whole lot of complicated metaphors said in a thick, Southern grumble. I can understand, at least, the words that Mattie is saying, even if I don’t understand what she means by them but when Cogburn and LaBoeuf talk, let alone when they are fighting with each other, I cannot make head nor tail of what they are going on about. Well, I can get the vague gist.

I would like to hear all of the little intricacies that the Coens have added in, and they were beginning to appear on my second viewing, because I think all the linguistic flips and tricks that occur especially in Westerns are one of my favourite parts. That’s it, though. I think that was why I fell asleep the first time, much like I did with Mr. Turner, as I really couldn't make sense of the dialogue. True Grit is, however, a marvellous film. Once past this linguistic barrier, you will find yourself in a rich and boundless world, populated by some hilarious and often touching characters. It is a gorgeously cinematic film, too, with a last act that rivals those of the Marvel movies. And just like most of the films in its creators’ filmography, this film begs to be watched again and again, knowing that you will take just as much from it upon each re-watch as you did on your first (or, in my case, second) viewing. Pure, solid gold.

LEAAAAAAANNNNNIIIIIINNNNGGGGGG...

10/10

[seasondays]

ACHIEVEMENT in W R I T I N G . A L F O N S O - & - J O N A S - C U A R Ó N : [gravity,2013] the writers that define my year [2013] . t h e - r e s t - o f - t h e - f i e l d . ethan & joel COEN : [inside llewyn davis,2013] claudia SAINTE-LUCE : [los insólitos peces gato,2013] derek CIANFRANCE, ben COCCIO & darius MARDER : [the place beyond the pines,2012] malik BENDJELLOUL : [searching for sugar man,2012] andrew HAIGH : [weekend,2011]

[seasondays]

I N S I D E - L L E W Y N - D A V I S

2013.ethan & joel COEN

the COENs at their most cynical, ironic, sarcastic with a score worth immediately downloading and visuals to die for. - 29OT13

we know how much the COENs enjoy torturing their characters and LLEWYN DAVIS does not have a different fate, his misfortunes and seeming lack of luck is a bittersweet thing to watch.

T-BONE BURNETT makes a great job compiling a soundtrack of original songs and covers that features cast members and forgotten artists from that decade.

DELBONNEL replaces DEAKINS as director of photography and the results could not be better, he delivers what i think without any doubt is the COENs best looking film.

key scenes: singing at the pub, letting out the cat, dinner gone bad, PLEASE MR KENNEDY, driving to CHICAGO, failed audition, midnight driving.

[seasondays]

twitter review

11 FESTIVAL INTERNACIONAL DE CINE DE MORELIA

I N S I D E - L L E W Y N - D A V I S

2013.ethan & joel COEN

4.0/5.0

the COENs at their most cynical, ironic, sarcastic with a score worth immediately downloading and visuals to die for.

favorite scene: midnight driving.

[seasondays]

#cannotwait [2013]

I N S I D E - L L E W Y N - D A V I S

2013.ethan & joel COEN

the cast: OSCAR ISAAC + CAREY MULLIGAN + JUSTIN TIMBERLAKE + F. MURRAY ABRAHAM + ADAM DRIVER + JOHN GOODMAN + GARRETT HEDLUND + ALEX KARPOVSKY

the crew: BRUNO DELBONNEL [cinematography] + T. BONE BURNETT & MARCUS MUMFURD [music]

the plot: a singer-songwriter navigates the folk music scene during the sixties.

[seasondays]

seasondays third spring film festival [ethan & joel coen]

blood simple

3.5/5.0

raising arizona

2.0/5.0

miller's crossing

2.0/5.0

barton fink

2.5/5.0

the hudsucker proxy

3.0/5.0

fargo

4.5/5.0

the big lebowski

3.5/5.0

o brother, where art thou?

2.5/5.0

the man who wasn't there

3.0/5.0

intolerable cruelty

2.0/5.0

the ladykillers

3.0/5.0

no country for old men

4.0/5.0

burn after reading

2.0/5.0

a serious man

5.0/5.0

[seasondays]

seasondays third spring film festival

the L A D Y K I L L E R S

2004.ethan & joel COEN

3.0/5.0

first time watching, reviews were horrible but i completely disagree, this is a "pop" COENS film, entertaining and funny, and maybe shallow

the LADYKILLERS remind me of O BROTHER, WHERE ART THOU?, and although i notice the lack of depth, it accomplished what it was looking for, an enjoyable experience

the LADYKILLERS is entertaining and engaging at the same time, the characters are bi dimensional buffoons, but it works, because they don't take themselves serious

the film remind me that TOM HANKS can work comedies too, that he can act, this was in my opinion his last good performance

in a SENTENCE: engaging and entertaining, an enjoyable experience, worth watching if you stumble upon it on tv, funny and witty it's worth the watch

[seasondays]

seasondays third spring film festival

I N T O L E R A B L E - C R U E L T Y

2003.ethan & joel COEN

2.0/5.0

first time watching, last time watching, and i didn't saw the COENS at all, they wrote, directed and produced but their seal wasn't there

the plot and the story, in paper, sound interesting, but translated into film doesn't work, the structure and the timing are off, you have no clue why the movie is still on

the film works best before it starts and after it ends, i'm just kidding a little, i thinks courtroom plus romance doesn't work at all

the film is an average average in terms of acting, cinematography, editing, production design and score, unfortunately not an average in terms of experience

in a SENTECE: we know the COENS kind of hit or miss, and here they completely missed, and messed it up, making something barely enjoyable

[seasondays]

seasondays third spring film festival

the B I G - L E B O W S K I

1998.ethan & joel COEN

3.5/5.0

first time watching this cult classic, this is the perfect COENS film, blending "fantasy" & "reality", crime & over the top comedy, and quirky characters

the BIG LEBOWSKI is three-dimensional, and that's why it works, the plot and the story are over the top, the characters are over, over the top

the BIG LEBOWSKI is three dimensional, as i wrote, the characters stories feels so familiar, when in reality, they shouldn't feel familiar at all

acting actors: BRIDGES is great, BUSCEMI & TURTURRO as always amazing, MOORE is refreshing and JOHN GOODMAN gave his best performance ever

in a SENTENCE: a cult classic for a reason, great performances and an even greater plot and story, if there's a COENS film you must watch is this

[seasondays]

seasondays third spring film festival

the H U D S U C K E R - P R O X Y

1994.ethan & joel COEN

3.0/5.0

first time watching, and definitely last time watching, this is the COENS at their lightest [and more stylish], entertaining nonetheless

everything in this film is over the top, but at least, the film doesn't take itself seriously, and this may be the film's best attribute

the HUDSUCKER PROXY starts "great", but by the time the second act [or what seems like it] starts, the films is boring and sleepy

the HUDSUCKER PROXY is perhaps the best effort in terms of production design in their whole filmography, everything else should be at the same level

in a SENTENCE: not the best, not the worst, not entertaining, won't be losing your time, so maybe watch something else

[seasondays]

seasondays third spring film festival

B A R T O N - F I N K

1991.ethan & joel COEN

2.5/5.0

the buzz killed it for me, when i read CANNES PALM D'OR winner, i expected i don't know what, and although i enjoyed it, i have to give the film a second chance

i loved the premise, and i loved even more how great the COENS work with maguffins, they even tricked us with a fake one, but there's a lot more that this maguffins

the film belongs to JOHN TURTURRO, he is amazing, he effortlessly carries the film; on a side note, why on earth can't we see this guy every year in an amazing film?

the film features now and then amazing shots of incredible sets, but now and then everything is average, except the score which is really good

in a SENTENCE: maybe it needs a second chance, but i still think is really good, maybe in the future i will find it great, but you should take a look

[seasondays]

seasondays third spring film festival

M I L L E R ' S - C R O S S I N G

1990.ethan & joel COEN

2.0/5.0

first time watching, last time watching, the film just doesn't work for me, this is perhaps my least favorite movie in their filmography

the film's pace is slow, too slow perhaps, the structure is somehow off, and i thought i would never say this, but i missed action, a lot

the film best scene perhaps is more of a sequence featuring ALBERT FINNEY, -S p o i l e r A l e r t-, they tried to kill him and he succesfully saves himself

GABRIEL BYRNE just doesn't work, for a leading performance he was outshined by ALBERT FINNEY and JOHN TURTURRO in every scene they share

in a SENTENCE: not the COENS' best film, ok, the COENS' worst film, i hope i didn't get it, but it will be a long while before i give it another chance

[seasondays]

seasondays third spring film festival

R A I S I N G - A R I Z O N A

1987.ethan & joel COEN

2.0/5.0

first time watching yet again, i was shocked to find out i have pretty much never watched a COEN brothers film, but things have changed

the film is everything but anything that BLOOD SIMPLE was, it is overdramatic [maybe, overcomedic] but the movie completely works, everything in the right place

the film feature great performances by both NICOLAS CAGE & HOLLY HUNTER, and FRANCES MCDORMAND is even better in a very small supporting role

the "techs" aren't great, in my opinion, they're not even good, they sometimes work, sometimes do not, and somehow steal the focus from the narrative part

in a SENTENCE: entertaining, funny, goofy, however i like the dramatic and, in a way more serious, COENS, i think it's worth the watch, but just once

[seasondays]

seasondays third spring film festival

B L O O D - S I M P L E

1984.ethan & joel COEN

3.5/5.0

first time watching and i was shocked to see how great it is, this pair of brothers set the bar very high for themselves

the film has a plot that in the beggining is not easy to follow but by the end is clear as water, they work wonders with a very few elements

the film features a very dynamic camera that focuses mainly on POV shots that keep you at the edge of your seat the entire running time

can i just say how great i think FRANCES MCDORMAND always is? in the movie she steals every scene she is in and in the third act she raised the game to an entire new level

in a SENTENCE: an extraordinary debut that showed us what the COENS really like - crime & criminals - , you must see this film as soon as possible