Over the years both Joel and Ethan Coen have made a name for themselves with smart, stylistic stories that center around strong, well-developed characters. From 1996’s Fargo to 2010’s True Grit, the duo has crossed genre lines and garnered the respect of the most powerful names in the industry. Hail, Caesar!, their newest project, will not be remembered as one of their better works.
Taking a rather blunt tongue-in-cheek approach to the creation of a film, Hail, Caesar! centers around Eddie Mannix, a “fixer” at Capital Studios who works tirelessly to keep its films (and stars) in line.
Setting the tone early, the Coen brothers offer up a rather humorous, ridiculously personified look at the dailies of the studios’ most highly coveted new project starring their leading man Baird Whitlock (Clooney). The shots are absurd and bizarre, quickly calling out the silly and often times exasperating industry that employs them every few years. And though the humor will likely be lost upon those not familiar with the industry, the horrendous CGI and blatant egos are hard to overlook.
For Mannix today isn’t like any normal day. As we join the stars on set of Hail, Caesar!, - the Capital Studios’ epic biblical tale - an abduction plan begins to take shape. And when Whitlock is whisked away from his trailer, the film hits overdrive. Though getting Whitlock back is a priority, Mannix finds himself navigating through the studio’s numerous sets, calming nerves and attacking issues in an effort to make life on the lot as simple as possible.
Boasting a truly spectacular cast, Joel and Ethan are unable to take full advantage as few ever cross paths within the context of the story. Comprised of what can only be described as several short films, all of which are connected by the mere presence of Brolin’s Mannix, Hail, Caesar is disjointed and a frustrating tease from start to finish.
It’s comedic approach to the industry, while entertaining, cannot compensate for the fact that characters come and go with the slightest tip of the hat. As soon as you find yourself comfortable with someone, they are shoved to the background, never to be seen from again as Mannix moves on to the next issue plaguing the studio, leaving viewers to gather the remains and move on with him.
I get the concept, and I get the creative decision. However, the choice comes with its drawbacks as the actors (outside of Brolin) are not fully able to embody their characters, coming off as comical plays on stereotypes rather than fully developed players. And though that is likely what the brothers were pushing for, the end result misses the mark as the fast-paced life of Mannix doesn’t translate.
The exception to this is Frances McDormand. Presenting us with a truly remarkable five minute performance, McDormand commands your attention and steals the film as in-house film editor C. C. Calhoun. Her one scene reminds you just how great Joel and Ethan can be…but the scenes that follow quickly ground you in the reality that is Hail, Caesar!.
Many of the film’s best moments hail from the films-within-the-film. And though they do offer up glimpses of fun, there is no denying that something is missing. Hell, even an overly homoerotic tap-dance routine from “guest star” Channing Tatum can’t savor the film’s slow descent into the dark abyss of disappointment. And though a double performance by way of Tilda Swinton as a pair of identical - and sparingly competitive - twin gossip columnist shows what an actor can do with only a few lines, Hail, Caesar! was made for the industry. The fact that others will pay to see it is merely a bonus.
