Year of release: 2016 Directed by Joel and Ethan Coen. Starring Josh Brolin, George Clooney, Alden Ehrenreich, Tilda Swinton, Ralph Fiennes, Channing Tatum, Scarlett Johansson, and Michael Gambon.
If there is one thing that the Coen brothers have proven throughout their entire career it is that they are masters of assembling oddball ensembles and intertwining their lives in ways that are both funny and/or tragic. Hail, Caesar! lands firmly on the funny side, and it is an intelligent and enjoyable tribute to the Golden Age of Hollywood, impressively balancing one of the largest ensembles the Coen brothers have created.
At the center of Hail, Caesar’s! eccentric ensemble is Josh Brolin’s everyman producer Eddie Mannix whose job is to clean up messes which the stars get themselves into and make sure all productions for Capitol Pictures roll along smoothly. After seeing Brolin as the idiotic Llewelyn Moss in No Country for Old Men and the dimwitted but menacing Tom Chaney in True Grit, he turns in an equally impressive performance as the quick-thinking straight man who must balance all the flailing comic acts which surround him.
Those acts include: George Clooney’s bender-prone megastar Baird Whitlock who gets kidnapped; Alden Ehrenreich’s stuntman cowboy Hobie Doyle whom the studio is determined to turn into a serious actor; Ralph Fiennes’ self-serious drama director Laurence Laurentz who can’t abide the lousy acting of Doyle; Tilda Swinton’s busybody reporter; Channing Tatum’s tap-dancing and singing Burt Gurney, the studio’s other megastar; Scarlett Johansson’s DeeAnna Moran, the scandal-prone megastar who must maintain a pure, innocent public persona; and Frances McDormand’s hilariously crusty film editor.
That’s not even all the characters, and as much fun as it is to watch the Coens juggle all the acts successfully, some of the stretches in between are not nearly as inspired. However, the series of extended cameos are delightful, and they alone make the film worth watching at least twice. Ralph Fiennes proves once again that he is brilliant comedic actor, continuing the success he had in The Grand Budapest Hotel. Channing Tatum and Tilda Swinton both steal every scene they are in. Aldren Ehrenreich’s southern drawl fits the Coen’s dialogue perfectly, and Michael Gambon’s narration sets the mood for a tribute to an era of storytelling now past.
At the center of all the shenanigans is the filming of Capitol Pictures’ prestige Biblical epic Hail, Caesar! – a tale of the Christ (a tagline originally from Ben-Hur). And Christ features into this movie in several ways. From the opening shot of a crucifix looking down on the audience, to Mannix’s frequenting the sacrament of Confession, to a dispute about the nature of God among a Catholic priest, an Orthodox patriarch, a Protestant minister, and a Jewish rabbi, and to the filming of the titular tale of the Christ, the Son of God and faith are what tie the film together.
Even more remarkably, this is one of the most straightforward, sympathetic, non-cynical portrayals of faith that the Coens have ever done. There are some lighthearted jabs at the difference of opinions among various denominations, but those are in a spirit of laughing with the characters not at them. The overall attitude is one of respect for faith, which is integral to Mannix’s work in maintaining the movie business which the Coens so obviously love. A scene toward the end drives home the idea of vocation in a way that is both dramatically satisfying and spiritually rewarding.
In addition to the good natured jokes about religious differences, Hail, Caesar! also intelligently plays upon and subverts classic film stereotypes from the ’50’s. The foolishness of egotistical actors is the main concern of Mannix’s job and a frequent source of humor. A subplot involving a MacGuffin is handled with a brilliant dose of the Coens’ trademark dark humor, showing the characters involved that they are not in control like they think.
Mannix also believes he is in control of his life and all the studio’s productions. However, the film is framed by shots which remind the audience that no one is in complete control of his or her own life, a theme which has shown up in nearly every Coen film from Blood Simple to Inside Llewyn Davis. However, unlike the unrepentant, self-centered league of morons from Burn After Reading, some of these characters take notice of the grace which surrounds them, and the religious imagery that overshadows the film can affect anyone who chooses to allow it to. With a large cast of eccentric characters, skillful tributes to the filmmaking industry, and the idea that grace is available for any fool who seeks it, one thing that is quite simple is that Hail, Caesar! is a Coen brothers’ movie through and through.
Content Advisory: A fleeting, mildly suggestive dance move; mild comic violence. MPAA rating: PG-13
Suggested audience: Teens and up
Personal Recommendation: B+