A brief history of America according to the Coen… | Little White Lies

A brief his­to­ry of Amer­i­ca accord­ing to the Coen brothers

03 Mar 2016

Words by Paul Risker

A man wearing a tan cowboy hat and shirt, standing in a desert landscape with hills in the background and a truck visible.
A man wearing a tan cowboy hat and shirt, standing in a desert landscape with hills in the background and a truck visible.
Hail, Cae­sar! is the lat­est entry into the direc­tors’ career-long refram­ing of their country’s sto­ried past.

Joel and Ethan Coen aren’t sim­ply two of America’s great­est liv­ing direc­tors, they’re among the most learned cul­tur­al car­tog­ra­phers work­ing today. The broth­ers’ new film, Hail, Cae­sar!, is a whip-smart meta com­e­dy set dur­ing Hollywood’s Gold­en Age and anoth­er prime exam­ple of their unique abil­i­ty to hop­scotch seam­less­ly between peri­od and place. From the old west to the New Deal and back again, here is a brief his­to­ry of Amer­i­ca accord­ing to the Coens.

It took the Coen broth­ers 26 years to chart America’s fabled fron­tier. True Grit echoes their 1984 debut fea­ture Blood Sim­ple – the heat, vio­lence, the per­for­mances of M Emmet Walsh and Dan Hedaya. Here the Coens roll back the years in order to revis­it the vio­lent past of this harsh post-Civ­il War land­scape. True Grit offers a snap­shot of Amer­i­ca in its for­ma­tive years, and along­side Blood Sim­ple con­fronts the nation’s propen­si­ty for gun vio­lence which was an agent of its formation.

From the rur­al mid­west to the urban north­east, Miller’s Cross­ing looks to anoth­er defin­ing chap­ter in Amer­i­can his­to­ry – the mob years. Not dis­sim­i­lar to the Coens’ lat­ter vision of a soci­ety on the brink of law­less­ness, their third fea­ture estab­lish­es sev­er­al recur­ring themes evi­dent through­out the broth­ers’ fil­mog­ra­phy. Although Miller’s Cross­ing is a film about love, friend­ship and loy­al­ty, it’s also a neat­ly-woven fic­tion­al­i­sa­tion of America’s past that’s full of bloody dra­ma and deceit­ful ploys.

By incor­po­rat­ing Homer’s clas­sic Greek tale The Odyssey’, the Coens cast Amer­i­ca as a youth­ful coun­try already steeped in its own mythol­o­gy. Set dur­ing the Great Depres­sion, a peri­od that cut a deep wound not just into Amer­i­can soci­ety but the glob­al econ­o­my, O Broth­er, Where Art Thou? sees the direc­tors utilise their razor-sharp comedic wit to turn a jour­ney home into a metaphor for America’s own road to recov­ery via Franklin D Roosevelt’s New Deal.

The Coens’ lat­est, Hail, Cae­sar!, is a return to Old Hol­ly­wood as pre­vi­ous­ly explored in their 1991 film Bar­ton Fink, in which a strug­gling play­wright is plucked from the the­atre and thrown into the ruth­less world of movie scriptwrit­ing. Bar­ton Fink posi­tions Hol­ly­wood as an arbiter of the Amer­i­can Dream, but it also demon­strates a self-aware­ness that would become a leit­mo­tif of the broth­ers’ work – from their colourised film noir, Blood Sim­ple, to var­i­ous nods to clas­sic screw­ball come­dies. In the world of the Coen broth­ers, film his­to­ry is as sto­ried and cul­tur­al­ly reveal­ing as America’s sociopo­lit­i­cal history.

Set in San­ta Rosa, Cal­i­for­nia on the cusp of the 1950s, an era of con­for­mi­ty and con­ser­vatism, The Man Who Wasn’t There offers an unset­tling view of Amer­i­can domes­tic­i­ty. The dark nature of the sto­ry, which cen­tres on lust, adul­tery and mur­der, is enhanced by Roger Deakins’ mono­chrome cin­e­matog­ra­phy, while Bil­ly Bob Thornton’s cen­tral per­for­mance per­fect­ly embod­ies the film’s comedic sur­re­al­ism and height­ened sense of reality.

The Coens’ ode to the Hol­ly­wood screw­ball com­e­dy cap­tures a side view of Amer­i­can cap­i­tal­ism in the 1950s, which was defined by con­sumerism and uni­for­mi­ty. The Amer­i­can Dream is humourous­ly depict­ed as being sus­cep­ti­ble to manip­u­la­tion, yet the direc­tors craft a tale in which the forces of cor­po­rate Amer­i­ca are thwart­ed by an inno­cent and purest ide­ol­o­gy that says any­one can make it to the top.

Just as Hol­ly­wood in the 1940s was inte­gral to the Amer­i­can iden­ti­ty, Green­wich Vil­lage in the 1960s played a key role in estab­lish­ing the cul­tur­al sta­tus of per­haps America’s most icon­ic city, New York. A neigh­bour­hood that’s lit­er­al­ly off the grid, the Green­wich Vil­lage of Inside Llewyn Davis – the crown jew­el in America’s vast cul­tur­al land­scape – shows a very dif­fer­ent New York to the one depict­ed in The Hud­suck­er Proxy .

The Coens’ chron­i­cling of Amer­i­ca comes full cir­cle with this slow-burn­ing urban west­ern. It’s a sto­ry that mix­es the famil­iar strik­ing-it-rich plot line with the blood­shed and car­nage that defines both the genre and the land­scape. Set in small­town Texas, No Coun­try for Old Men serves as a reminder of the seduc­tive hold this land­scape has over the Coens while touch­ing upon sev­er­al com­plex issues that char­ac­terise America’s past and present.

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