A period piece road picture about a trio of ex-cons who wind their way around the state of Mississippi during the Great Depression, the basic premise of O Brother, Where Art Thou? seems ideally suited for the Coens’ oeuvre, combining quirky characters and ridiculous situations. Though inspired by equal parts Homer’s The Odyssey and Preston Sturges’ screwball comedies, this high-concept project suffers from a lack of inspiration.
The story follows Ulysses Everett McGill (George Clooney), an who talks his partners in a chain gang, Pete (John Turturro) and Delmar (Tim Blake Nelson), into fleeing with him, by promising to lead them to buried riches (the spoils of his last job). On their way to the loot, the men encounter a blind guitarist named Tommy Johnson (Chris Thomas King) who sold his soul to the devil; bank robber George “Babyface” Nelson (Michael Badalucco), who turns out to be very insecure; the Governor of Mississippi (Charles Durning), in the midst of campaigning for reelection; a one-eyed bible salesman (John Goodman); and three very beautiful young ladies (Mia Tate, Christy Taylor, Musetta Vander), whom the men stumble upon as the women are washing themselves in a river. As the list suggests, a lot happens in the film, but many of the events feel half baked; not a lot comes of it all.
While the Coens are well known for their gags, most of the ones here simply fall flat. For instance, Ulysses obsesses about maintaining his hair just so (by way of pomade, hairnets, and constant combing), Delmar believes the women have turned Pete into a toad, and the Ku Klux Klan performs a dance routine. Unfortunately, the scene involving the KKK never completely crosses the line from reality to fantasy. What happens could actually be what the Klan does. Therefore, the scene is more uncomfortable than funny. Obviously, the Klan is a perfect target for satire, but the context just doesn’t work
O Brother, Where Art Thou? does have a few nice moments. During a recording session, the guys, under the name of the Soggy Bottom Boys, unexpectedly display musical talent when they cut a record—“Man of Constant Sorrows”—that becomes a smash hit. Later, a performance of the song at a fundraiser for the Governor of Mississippi ends in a moment where all the strands of a meandering plot actually come together to a certain degree. However, getting there is a long, slow slog.
Over the years, the Coen brothers have proven themselves to be very good screenwriters. However, in this case, Pete and Delmar are poorly developed. As a result, John Turturro and Tim Blake Nelson both deliver flat, uninspired performances. In the case of George Clooney, he does what he can with the role, but he seems to be holding back a bit—perhaps in response to his co-stars. O Brother, Where Art Thou? Isn’t a terrible film, but it’s not anywhere near the Coen brothers best.
Presented in the 2.35:1 aspect ratio, this 1080p transfer is very solid. Detail is superb in all depths of field. Colors are bright, vibrant, and well balanced. Edge detail is also quite good, and there´s a nice sense of 3-dimensionality.
The DTS-HD 5.1 Master Audio sound mix is a good one as well. Surrounds are mostly used for ambiance to great effect. Fidelity is quite impressive, especially when it comes to the score and other soundtrack music that plays throughout the film. Dialogue is clear at all times, and integrates well with all other soundtrack elements.
The following special features are included:
- The Making of O Brother, Where Art Thou? (SD; 8:39) An EPK containing interviews with Joel and Ethan Coen, Roger Deakins and the principal cast members.
- Storyboard to Scene Comparisons (SD) Two sequences are covered: The Flood (6:53), and The Klan (6:19). For each, the viewer can alternate between a sequence from the film and the relevant storyboards, or place the two next to each other.
- Music Video: “I Am a Man of Constant Sorrow” (SD; 3:28) The video is composed of scenes from the film.
- Theatrical Trailer (SD; 2:32)
