"Hail, Caesar!" is a (not)ordinary backstage story about the American film industry, which was developed in the 1950s, designed on the big screen through the eyes of the protagonist, Eddie Mannix (Josh Brolin). He, unlike other character-prototypes, is a true person who has marked his glorious past with his unique ability to "fix" the problems of the studio. Problems stemming mainly from the spoiled lives of their big movie stars. Mannix 's everyday life is tense and everything is important always at the right time. In order not to be bored, "fate" has given him several key impediments to deal with within the almost two-hour satire produced by the always unconventional brothers Cohen. On a personal level, Mannix is getting too good to be a true offer from an airline who at all costs wants his services. In professional, the studio's biggest star and Hollywood at all, Bard Whitlock (George Clooney) was kidnapped during the filming of the largest and fabulous time project, "Hail, Caesar!". A ransom was requested for him, and the mysterious hijackers signed themselves as the "Future".
Among these two storylines, there are some minor issues that Mannix has to deal with: the retraining of a singing cowboy to the drama - Hobby Doyle (Alden Erenreich), Diana Moran's unborn bastard (Scarlett Johansson), maintaining good relationships with director-perfectionist Lawrence Lorentz (Raff Fiennes) and the gossip hunger of the twin gossip-colonist Tora and Tossali Thacker (Tilda Swinton). Those familiar with Cohen's style should be aware of what to expect. At least as far as the style and pace of the action is concerned. At first glance, unrelated events are small pieces adapted to match each other in the best way to reveal the common plan. And when there's a kidnapping story, captivating kidnappers, a state-of-the-art house on the beach in Malibu, owned by a cult character, things turn to pure-fucking-quality in terms of the end result. "Hail, Caesar!" Is a complicated film. Above all, it is a deconstruction of the genre, as far as it can apply to pseudo-biographical cinematographic works, overwhelmed with meta and any kind of social commentary. It recreates the golden age of American cinema, detecting the turning point in which television is gaining momentum and threatening to steal the loyal audience under the nose of film studios. We add a pinch of communism, the number one ideological enemy for post-war America, at the footsteps of their Cold Love Story with the USSR.
You understand that topics of similar magnitude and significance are difficult to present to a wide audience. I'm not saying you're stupid, but "Hail, Cesare!" Is a personal film. Something like a letter with complaints about the system, but with a remarkable sense of humor, respect above all, and inserting a number of messages between the lines that are for the most part missed at first sight. The Cohen Brothers' project is not a profanated grub, at least not everything. It oscillates the methodology of cinema studios, their self-confidence and impassivity. It hangs with the religious side of things, the approval sought in the eyes of the higher representatives of the various canonical churches. There is a backyard of shared responsibilities, a tribute, and recognition of one's total absence to other, essential units in the creation of a great cinematic production. In addition, we also have the innocent but rather oligophrenic understanding of the brothers' lives, resulting in a painful situation that can smile in a unique way. Apart from highlighting the complexity of "Hail, Caesar!", We should also note the obvious. Namely the actors. The caste is remarkably good. From our familiar star stars (to the above, we add the wonderful Francis McDormand, the magnificent Channing Tatum, and Jonah Hill's camo version), through the new faces - a joking wink at the producers implying a risk, reaching out to the forgotten god mummies such as Christoph Lambert and Dolph Lundgren.
The Vision - Roger Dickinson with another brilliant job.This mThis man is a magician and the postponement of the deserved golden statuette makes him an even bigger legend. I have a few favorite scenes in this movie, which, as well as filming, have also earned me a directing, a charge and (perhaps) a message. Which is good. Exiting the room, I was pleased. Beautifully realized idea. I was definitely positive, thinking about the case when I would come back to look at it again. But he had the unpleasant feeling. The thing I mentioned above. For the personal motif in "Hail, Caesar!". I can understand (almost) all hidden messages, social commentaries, work-outs, the creator's self-esteem, the wishful building critique, and so on. But I can not fully understand, not to say at all, all the references to the era in particular and to the film industry as a whole. Especially as far as Hollywood is concerned. Based on my own perception, I see "Hail, Caesar!" As a hard-to-digest film for the mass audience. Which, unfortunately, can affect its assessment. Brothers Cohen are not for everyone, it's clear, but it's hard to explain, even if you have a healthy nervousness, why a piece is rather good than a "dull movie".
The creation of "Hail, Caesar!" Is an achievement deserving of admiration. Despite the terrible touch with other Coen's film titles, this one is original enough and bold. He automatically ranked one of the best works of Joel and Ethan. His cinematography, the truths spoken, as well as many other skillfully masked sarcastic teas, will undoubtedly turn it into a classic. And we ... we can bow to his genius by looking at him, and eventually we can see in some (not so) distant plan, to have the occasion to create something that is at least a little closer to the skill of Hail, Cesare! "
