I’ve made the point before that the list contains films of three varieties; great, popular and important. The greats arrive via the Empire 5-star 500 list, the popular from the two lists voted by the general public, and the important ones are provided by the 1001 Films to See Before You Die. Many films, though arguably important, aren’t actually very good, so one could argue that they should be remembered and acknowledged for their gifts to cinema, but not necessarily watched, as was the case with the Jazz Singer, marking the introduction of spoken dialogue to the big screen, which nowadays is dull, racist and features too many unnecessary songs. The Big Lebowski, on the other hand, is also an important film, spawning a cult following so vast there is a fan club (the Little Lebowski Urban Achievers), several books and an annual festival (creatively named Lebowski-Fest, I hope to attend one day). And yet, it does not appear among the important list, appearing here after being awarded a 5-star review and obtaining positions on both nominated lists. This is less a crime and more a cultural injustice, as the impact this film has had on society is measurable from space. Hell, they even played clips of it recently on Something for the Weekend.
So just what is it that resonates so much with the public? Maybe it’s the snappy, endlessly quotable dialogue (“Obviously you’re not a golfer), particularly everything said in the bowling alley. Or perhaps it’s the borderline caricature roster of characters on display, from John Turtorro’s lilac-hued pederast Jesus (whom nobody fucks with) to Julianne Moore’s naked yet cultured Pollock-esque artist Maud and of course John Goodman’s psychotic ‘Nam vet Walter. It’s probably got something to do with the extremely crowded plot that bears little effect upon the characters it happens to. But mainly, it has to be Jeff Bridges turn as The Dude, a man shambling and smoking his way through life, following the flow it leads him on via nihilists, urinating Chinamen, porn moguls and private detectives. That, and it’s the first great film to feature a pot-smoking lead since Cheech and Chong, and one must conclude that many of those attending Lebowski-Fest, drinking white Russians in their dressing gowns and sunglasses have similar feeling towards the weed as his Dudeness.
Me? I love it because it’s a quintessential Coen Brothers movie. It features everything you need to make a great film – a twisting plot, stellar cast (I haven’t even mentioned Steve Buscemi, Peter Stormare, Philip Seymour Hoffman, Tara Reid, Sam Elliot, David Thewlis, Aimee Mann or the Red Hot Chilli Peppers’ Flea), terrific performances all round and a cracking soundtrack. The film introduced me to my cocktail of choice – Vodka, Kahlua and milk, easy on the Kahlua and heavy on the ice – and every time I watch it I either see something new or am reminded of a moment of pure gold I’d previously forgotten.
Went to see War Horse last night, and to be honest I wasn’t expecting that much, a kind of Au Hasard Balthazar combined with a WWI Band of Brothers, following the exploits of a boy and his horse as they navigate the major events of the first world war trying to find one another. But what I found was an uplifting, beautifully shot old fashioned film that was far more entertaining than I could have hoped.
Though at times the plot gave way for nosebags of sentimentality (this is a Spielberg film, after all), and few of the characters are onscreen enough to leave a resounding impression, though their parts of the story are some of the most touching (hello, Tom Hiddleston, Benedict Cumberbatch, Toby Kebbell and Eddie Marsan) every second of footage used is shot so perfectly, by Spielberg’s regular director of photography Janusz Kamisnki, who will surely receive an Oscar nod, if not a statue. The most beautiful moments are those in a far from beautiful setting, with Joey, the horse, jumping over and through trenches on No Man’s Land, only to be ensnared in barbed wire, or a sunset-backlit ride up a distant hill, and the sheer scale of some scenes, with hundreds of extras running from trenches or preparing for war. John Williams’ sweeping score is good but forgettable, and this is hardly one of Spielberg’s best (it isn’t quite the Saving Private Equine I was hoping for), with perhaps not quite enough time focussed on those fighting the war (it’s a good 45 minutes or so before the horse and boy, played by OK newcomer Jeremy Irvine, are separated), this is still a very entertaining watch. I think it’s better if you don’t really care about horses, as I enjoyed it immensely, but my horse-obsessed girlfriend spent at least a quarter of the two and a half hour run time watching through her fingers, so desperate was she not to see anything bad happen to a horse. It’s also remarkable that they made a film whose central character is a horse, yet at no point did I think it would be better if the horse could talk, or had an internal dialogue, even when he makes friends with another horse.
Choose film 7/10