The Coens have created a satiric noir out of the legend of Eddie Mannix, The Fixer of Hollywood. Josh Brolin isn’t the first to play a character based upon the infamous Mannix, that honor goes to Bob Hoskins in HOLLYWOODLAND, remember when Affleck was SUPERMAN? Yeah. That one! Anyway, in HAIL, CAESAR! the Coens are creating a tongue sticking through the cheek tall tale of cinema… and they succeed wildly!
Set in and around 1952ish – I say that as the time, as the MILLION DOLLAR MERMAID-esque water spectacle was that year – and if you poke around MGM of 1952, you can kind of see some of the films of that era there.
Anyway, the film’s main character is Josh Brolin’s Mannix, the president of production for CAPITOL PICTURES – which is subbing for MGM here. Mannix was a Catholic church going man in this picture. One to confess cigarettes smoked. On this particular juncture in his life, he is entertaining offers to work for the Airline Industry, which would make his life much simpler, but he’s the kind of man that wonders if he deserves an easy life, when he does enjoy the constant chaos he’s in the eye of every day upon his lot. He works all hours, constantly attempting to do what is best for the studio and the films. He’ll pay ransoms, cover up scandals, grease the wheels that need greasing. Make instant decisions to fix one problem by creating another – and it’s beautiful. When he’s talking to several men of the clergy about the big film they’re making HAIL, CAESAR – which feels a tad BEN-HUR and even has the same subtitle, he is trying to find if there is anything the men of various faiths would have a problem with – and it is hysterical. At least to me.
While Brolin’s Mannix is the center of this hurricane of activity, the film is filled with fantastic characters and performances. My favorite of which is Alden Ehrenreich, playing Hobie Doyle, a gosh shucks cowpoke that is a trick rider of remarkable skill and quite the wizard with a lasso or a spaghetti noodle for that matter. He gets pulled from shooting a Western to slip into finery and pass for upper class – and… it is, again, hilarious. He’s asked by Mannix to escort a Carmen Miranda type named Carlotta Valdez to the premiere of one of Westerns, Veronica Osorio is an absolute delight in the role. The entire thing was absolutely entrancing. I like the sense of duty to the study and the loyalty he seemed to exhibit to Mannix – and his fellow Capitol star Baird Whitlock.
Speaking of Baird Whitlock, played with pitch perfect numbskullery by George Clooney. There is a part of me, that just wants Clooney in nothing but Coen Brother farces. He’s just – so good at those absurd reactions and delivering the most hysterical monologues with such a wonder of slow burns and rakes. He’s comedic gold here!
Scarlett Johansson’s DeeAnna Moran is based somewhat upon Esther Williams, but it is as if they infused into her a bit of the bad girl that Lana Turner had going. In this film, she’s playing the mermaid in a Busby Berkeley styled piece of madness, but she talks of having a baby out of wedlock, past dealings with mobsters, etc. She’s fantastic.
Channing Tatum’s character should just be allowed to play. The less you know the better and his character has some surprises I doubt you’ll see coming! But more dancing Tatum the better!
The preciousness of Ralph Fiennes Laurence Laurentz is a joy. Tilda Swinton’s Thora & Thessaly Thacker – is coming straight out of the world of Hedda Hopper.
The cast doesn’t stop there… you’ve got Frances McDormand, Jonah Hill, Max Baker, Fisher Stevens, Patrick Fischler, John Bluthal, Robert Picardo, Christopher Lambert, Wayne Knight, Clancy Brown and more! This is a deep cast of major talent – and that ensures that we’re delighted non-stop.
Wayne Knight’s mugging – and the appearance of John Bluthal – I love this cast. The look and beauty of the film is a reason to rush out to theaters to see it. It’s been years since you’ve seen the richness of color that this film is saturated with, emulating that classic Technicolor lushness that MGM was known for.
The film deals with religion, socio-economic disparity, directors having to suffer through studio mandates and all while moving around through back lots and soundstages. The very Albert Whitlock looking cliff house that Clooney’s character is held. The score, the atmosphere, the make up and the costumes – all perfect.
My film writing pal, Jason Gorber tweeted that if BARTON FINK is the Old Testament, HAIL, CAESAR! is the New Testament – and I just felt that needed repeating. There’s a lot to that. And is a very interesting lens to focus upon the film.
One viewing is just scratching the surface. This is a robust serving of cinema – and by all means dig in!
In the same comforting manner that I left theaters after THE BIG LEBOWSKI, just knowing that someone like The Dude was out there looking out for things, in HAIL, CAESAR! I am thoroughly comforted to know that a man like Mannix is taking care of classic Hollywood and the threat of those damned Communist writers! And if you can hear my evil giggle as I wrote that, you get it.
I love every second of the film. There were several extended sequences where I realized I was smiling too big! There’s a genuine danger of cheek strain watching this film. You have been fore-warned!
