Hail, Caesar! (2016)

The latest offering from the Coen Brothers with an eye-watering cast at its disposal is an off-key shadow of the duo's former work.

Hail, Caesar! (2016)

Following on from the successes of No Country for Old Men, True Grit, Burn After Reading, and Bridge of Spies, it seemed that the Coen Brothers could try their hands at anything and it be more than watchable. As a result, expectations were great.

There was a lot of hype around the film because of an all-star ensemble cast. It wasn't only to be a huge Hollywood affair, but the stars have all had their fair share of time to exhibit their genuine talents so that, when it came to Hail, Caesar! they weren't accused of being cast purely for their clout.

It looks a treat; phenomenal production and costume design and the masterful cinematography from the infallible Roger Deakins. Other than this and the acting, though, there's little endearing about the film.

From the off, the film isn't unwatchable in any regard but is uncomfortable alongside the expectations that now comes with a release like this.

Broadly, the film takes us through the ploy for ransom made by kidnappers of Baird Whitlock, played by George Clooney, Hollywood's biggest star, to Eddie Mannix, played by Josh Brolin, an executive of Hollywood's Capitol Studios. Knowing this is enough to persuade many to go and watch it but the story is where the film falls somewhat flat.

The attempt to get Whitlock back is completely unchallenging and, therefore, uncompelling. The sub-plots are either lacklustre or left alone to fizzle into uncertainty. The main characters of Whitlock and Mannix are one dimensional and uncharismatic. The secondary characters of bumbling hero, Hobie Doyle, played by relative newcomer Alden Ehrenreich, and Hollywood sweetheart, but diva behind closed doors, DeAnna Moran, played by Scarlett Johansson are the only sources of real humour.

While other actors such as Ralph Fiennes whose redeeming gambit is given away entirely in the trailer, give good performances, their characters aren't given enough room to challenge the talent.

The comedy lacked substance, it wasn't underplayed or subtle, it was just non-existent. Hail, Caesar! represented an attempt at being a classic Coen Brothers comedy where the humour was derived from a genius melange of slapstick and understated hyperbole and a vivid move to the highest of production value. It feels like it got its priorities wrong.

The film was slow in a way that didn't fit with the genre. There was no excitement or ingenuity in its pacing and the conflict was never truly resolved in a fulfilling manner. The big twist in it is befuddling and unsubstantiated and, I fear, an attempt at saying something political but without an agenda – a shortcoming of trying being funny.

It deserves, however, a great deal of credit for the way it's put together. The editing, sound, and visuals are all so striking that the film will still probably pick up traction come awards season. In this regard, the Coens deserve recognition as directors and editors but not so much as writers.

The art department and costume department as well as VFX helmed by Coen collaborators, Jess Gonchor, Mary Zophres, and Rachel Ambelang recreate Hollywood of the 50s with its sets and studio lots and secluded locations resplendent in pomp and fallacy in a true feast for the eyes.

Without making a statement about Golden Age Hollywood in its narrative, it is the embodiment of what Hollywood is in its production – beautiful, yet vapid and uninspiring.

Image courtesy of Flickr/Wolf Gang

Author

Bhavesh Jadva

Bhavesh Jadva Voice Team

Former Media Editor on Voice and former Arts Award Editor on AAoV covering film, TV, music and comedy.

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