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its funny, when my brother and i were both attending high school in KUWAIT roughly 20 years ago our middle eastern peers were largely naive about AMERICAN culture and pretty much anything that wasn't related to that isolated oil-rich hellhole. my brother had a binder that carried a printed out picture of JOHN TURTURRO's epic bowling nemesis from the THE BIG LEWBOWSKI (WORKING TITLE, 1998) and his KUWAITI classmates would ask him who that was. he'd cooly reply "that's Jesus" to which they'd inquire confusedly "THAT's JESUS?!"
THE COEN BROTHERS are masters of playing with genre expectations and THE BIG LEWBOWSKI is a great example of them experimenting with the cinematic form of NOIR films and their ROMAN NOIR literary antecedent. NOIR films were largely created in a post-WWII climate where the world order was being rebuilt and the role of men was being challenged and rethought along economic, cultural and social considerations. the literary analogue to this genre predates WWII. usually there is a single male who throughout the film is fighting a series of outside forces that include government agencies (of the secretive variety), the media and (of course) women. women in particular are depicted as agents of destruction, i.e. femme fatales, who use their sexuality to attempt to derail our hero from his goal. of course its bullshit, but its a construction that is dear to a genre that at its heart is questioning what identifies masculinity when their hegemonic influence is questioned in a patriarchal society.
what makes THE BIG LEWBOWSKI so interesting is that instead of a determined, idealized male protagonist that rises to the occasion to supersede these overwhelming forces, we are instead given JEFF "THE DUDE" LEBOWSKI, an aging inept stoner with no will to effect change on the world other than his commitments to his bowling league and listening to CREEDENCE CLEARWATER REVIVAL. he is the personification of ineffective masculinity, yet he is the protagonist that meanders his way through a convoluted plot of outside forces that he inept to deal with any reasonable capacity. that is the core of its humor and humanity.
i think i identified with that character not for his slacker-ness but his being thrown into crazy situations, much like i had at that point survived NIGERIA and boarding school.
LEBOWSKI throughout the film is manipulated by more sophisticated and devious counterparts, including another high-achieving JEFFREY LEBOWSKI who is nonetheless crippled and cuckolded by his barely legal porn star wife. even his doppelgänger or mirrored-self is compromised. much like his inability to effect change, the film also just kind of ends where it begins, and endless loop of inadequacy and mediocrity.
a film that never really ends or begins. no character development. no lessons learned.
great film well worth watching on repeat. i have since i was a teenager.
photo manipulation by nacrowe
at some point TALKING HEADS frontman and notable NEW YORKER (via Rhode Island) DAVID BYRNE decided to make a film about TEXAS. sounds horrible but TRUE STORIES (WARNER BROS, 1986) is a classic film of its time.
this musical was referenced consistently throughout my childhood, especially BYRNE's obtuse narration of "who cannot say this isn't beautiful?" when speaking about the seeming infinite flat expanse that is the lone star state. literally every time we went to a new country growing up, my father used that line. "everything you see here is typically SOUTH AFRICAN, and who cannot say it isn't beautiful?"
full disclosure: i've never been to TEXAS. its a streak i am hoping to keep. closest i got was the GEORGE BUSH INTERCONTINENTAL AIRPORT in HOUSTON and that was enough. unfortunately i feel like i was partly raised in the south given that for three years in NIGERIA i lived in a guarded company compound full of TEXANS and LOUISIANANS, but that is a story for another entry.
what separates this film from just being an eccentric look at a southern state by an outsider is the soundtrack. what makes the music work is its earnestness and ability to illustrate different aspects of TEXAN culture, from its proud LATINX population to its crazed-apocalyptic evangelical doom-spouting sermonizers to its then-growing construction of new mega-malls brought on by new wealth from the tech and petroleum industries, this film really captures a moment in the AMERICAN psyche where capitalism seemed to potentially provide a means to self-actualization.
or maybe it showcased the insular nature of a pre-internet AMERICAN landscape where basic needs were met for the first time in history and all that is left is the vacuity of media culture to provide meaning. i don't know. its a very interesting film that means something different each time i see it. sometimes i feel BYRNE is viciously satirizing and mocking MIDDLE AMERICAN VALUES while other times it seems he is empathetically presenting an endearing slice of AMERICAN life. it's probably all true. oh shit, see what i did their on accident. that's good stuff.
i should mention that the songs are sung in the film by an impressive cast including JOHN GOODMAN, TITO LARRIVA (THE PLUGZ/TITO & TARANTULA/THE FLESH EATERS), POPS STAPLES (THE STAPLES SINGERS) and, my personal favorite, GENERAL HOSPITAL actor JOHN INGLE as a crazed televangelist preacher spewing crackpot conspiracy horse shit. most people are also suprised to learn that BRITISH INDIE/ALTERNATIVE legends RADIOHEAD derived their name from a song in this film.
regardless, this film is amazing. you should see it whether you are a fan of DAVID BYRNE and/or TALKING HEADS or not. but really you should be a fan of them as well.