Published via Ecency

(source: tmdb.org)

Giving audience what they want appears to be unforgivable sin in the eyes of film critics. Such enmity is gained even when the film is made by undeniable skill and passion by authors those same critics used to worship as infallible geniuses. This might explain why 1994 period comedy The Hudsucker Proxy turned out to be the first major critical disappointment in the career of Coen Brothers.

The plot begins at New Years Eve 1958 when the protagonist Norville Barnes (played by Tim Robbins) is about to commit suicide by jumping from New York skyscraper. Through flashback the audience is seen how he came to this point and plot switches one year earlier when Barnes is young, ambitious but partially naive graduate of Muncie business school arriving to New York City to seek employment. The best he can get is position of clerk in mail room of a gigantic Hudsucker Industries corporation. This happens just as its founder and president Waring Hudsucker (played by Charles Durning) surprises everyone by committing spectacular suicide by jumping through window. His sudden departure creates serious problem for board of directors, led by ruthless Sidney J. Mussburger (played by Paul Newman). Hudsucker has died without heirs and all of his stocks are about to be sold. Mussburger and his confederates wants to buy them cheap and the best way to decrease the price is to appoint inexperienced, incompetent and obviously unfit person to become next president and thus create doubts about company’s future. By coincidence, Mussburger meets Barnes and decides that he would be perfect for this scheme. Barnes, however, proves to be talented and his seemingly silly idea of new product called hulla hoop turns into major hit, improves company’s finances and threatens to wreck Mussburger’s plans. In the meantime, Barnes has hired new personal secretary not knowing that she is actually undercover investigative reporter Amy Archer (played by Jennifer Jason Leigh).

Coen Brothers are known for violent content and dark overtones in their work, especially during early part of their career, so The Hudsucker Proxy might look somewhat atypical with its general cheerfulness and family friendly orientation, recognised by MPAA censors that originally gave it PG rating. Brothers, with the help of their friend Sam Raimi, were developing script from the very start of their career. Although they had its origins in 1980s, they wisely waited for their other work to build their reputation and thus get budget for what would ultimately be their most expensive and the most ambitious project by that time. They were finally helped by Joel Silver, legendary producer of action films who, despite being associated with different genre, happened to be great fan of Coen Brothers. He helped bring tens millions of dollars into the project and the big budget is more than visible in the film that features stylistic recreation of late 1950s New York with accurate props, costumes, spectacular sets and even some rather expensive special effects.

High production values for The Hudsucker Proxy can be explained by this film being Coen Brothers’ love letter to Classic Hollywood films that they have been properly honoured only by displaying similar levels of craftsmanship. Those classics include populist comedies by Frank Capra with It’s a Wonderful Life being the most obvious inspiration for Coens in terms of plot and narrative structure. They also included screwball comedies, especially those directed by Howard Hawks, which are honoured by having tough, fast-talking female protagonist which is here played by Jennifer Jason Leigh doing her best to impersonate the likes of Katharine Hepburn and Rosalind Russell, which resulted in one of the most impressive performances of her career. Yet, Coens also added their own distinct touch by using colour cinematography by Roger Deakins and ultra-stylish direction 1930s and 1940s films didn’t have, adding few obvious nods to later films like Gilliam’s Brazil as well as putting the plot in Mad Men world of late 1950s which is somewhat easier to connect with today’s audience. All this is accompanied by Carter Burwell’s music score which skilfully uses motives from Aram Khachaturian’s work making The Hudsucker Proxy not only look but also sound epic. Coens also had very good cast at their disposal, including Tim Robbins playing business executive completely different from the one played in The Player few years earlier. Old Hollywood legend Paul Newman is also good as corporate villain in one of his last major roles, while veteran character actor Charles Durning leaves excellent impression despite his character appearing relatively briefly in the film.

Coens made the exactly the same kind of crowd-pleasing stylish and ultimately inoffensive film Classic Hollywood had made. As such, it was disappointment to the critical establishment in its perpetual search for something “edgy” and subversive in their favourites’ work. The audience that wants simple undemanding forms of entertainment made with great deal of care and talent is, however, more likely to enjoy and appreciate this film, arguably among Coen Brothers’ best.

RATING: 9/10 (++++)