Well, it turns out “Fargo” is not the only Coen brothers production I would be analyzing this semester. “The Big Lebowski”, written and directed by Ethan and Joel Coen, did not make a financial or critical splash upon release. However, in spite of poor box office returns, the movie eventually became a cult classic, understandably so.
Starring Jeff Bridges (as my friend Dominic and other Marvel fans would know him, “Obadiah Stane”), John Goodman, and Julianne Moore, “The Big Lebowski” sees Bridges in the role of Jeffrey “The Dude” Lebowski, a perpetually laid-back slacker. The story follows The Dude as he becomes entangled in a kidnapping plot after being mistaken for a millionaire philanthropist of the same name. But with this in mind, “The Big Lebowski”, at its core, is less about plot and more about atmosphere and character. The narrative itself is intentionally convoluted, filled with double-crosses, missing money, and eccentric side characters, but the mystery is almost beside the point, with the audience instead being immersed in the world surrounding it.
Instead, the Coen Brothers focus on the journey—specifically, how The Dude navigates a world that seems far more intense and self-important than he is. His relaxed philosophy, summed up in his famous mantra “The Dude abides,” becomes a kind of comedic counterpoint to the chaos around him. After all, when our hero is attacked in the opening scene, he seems more mildly annoying than anything else, which in and of itself, is hysterical. “Where’s the money, Lebowski?” angrily asks one assailant while plunging his head in and out of a toilet. “It’s down there somewhere, let me take another look,” he replies.
The film’s greatest strength lies in its characters. Jeff Bridges delivers an iconic and hilarious performance as The Dude, embodying a kind of effortless cool mixed with total aimlessness. The character has become so beloved that Bridges has reprised the role for commercials and late-night television appearances. Furthermore, a philosophical practice known as “Dudeism” has resulted from the movie (yes, I am serious) that emphasizes “going with the flow” and being very nonchalant about most affairs.
Outside of Bridges is an equally memorable cast. First are his bowling buddies, Walter and the always-”out of his element” Donnie (Steve Buscemi). John Goodman brings the former, an impulsively volatile Vietnam veteran (who reminds viewers of that every so often) with a strict personal code, to life, in show-stealing fashion. The dynamic between these three characters drives much of the film’s humor, with Walter’s gun-wielding intensity clashing hilariously against The Dude’s apathy. Also worth discussing is Julianne Moore as Maude Lebowski, the elder, wealthy Lebowski’s artistic daughter and our lead’s eventual lover. Her quick, monotone nature adds to the zaniness of the movie.
Lastly, another aspect of “The Big Lebowski” that works well is that it is unmistakably a Coen brothers’ film. It blends sharp dialogue with surreal visual sequences, including dreamlike bowling-themed fantasies that parody classic Hollywood musicals and art films.
Not checking out “The Big Lebowski” is an “aggression that will not stand, man!”