Eddie Mannix is a sinner—well, a relapsing smoker. Yes it’s toxic, but he can’t resist just one more drag of nicotine.
Who can blame him? He works in the fast-paced film industry of the 1950s, juggling the actors’ peculiarities and the backdoor politics to ensure the smooth-running of Capitol Pictures.
Mannix (Josh Brolin) is the central character of “Hail, Caesar!” the Coen Brother’s latest movie. The movie highlights the complexities and absurdity of the film industry by portraying a day in the life of Mannix.
In just one day, Mannix faces obstacles like maintaining actress DeeAnna Moran’s (Scarlett Johansson) innocent public image and calling in a double-holstered cowboy actor Hobie Doyle (Alden Ehrenreich) to play a smooth-talking, sophisticated man. But, the main kicker is having to navigate the kidnapping of the studio’s favorite star, Baird Whitlock (George Clooney), by a mysterious group who call themselves “The Future.”
Just as much of a business as a babysitting job, Mannix is weighing a job offer that would free him from the circus.
Set in the 1950s, which can be considered the Golden Age of film, “Hail, Caesar!” does a fantastic job of paying homage to the movie genres that gained Hollywood its lasting popularity.
The sweeping landscapes of epics like 1956’s “The Ten Commandments” are paralleled in Clooney’s film, where he marches through the mountains and deserts with hundreds of extras, donning a Roman military suit.
The entertaining appeal of musicals such as 1952’s “Singin’ in the Rain” is captured by Channing Tatum who sings – well! Tatum’s tap dance on top of a bar table would make Gene Kelly proud.
Then there’s Johansson’s synchronized swimming scenes, which display the graceful motion that women, like actress Esther Williams, from aquatic Technicolor films possessed. Filmed from above, the girls’ bright red and yellow swimsuits contrast the deep blue sea, and the colors swirl and dive in harmony on the screen.
Although these beautiful settings are eye-catching and impressive, the films of that era too often gave off an aura of perfection and lacked humanity. This is where the Coen Brothers’ wit comes into play.
Using “Hail, Caesar!” as a form of satire, the directors poke fun at the absurdity of the film industry through the use of exaggerated drama and composure combined with purposeful subpar acting.
The film is successfully ludicrous thanks to its star-studded cast.
Clooney flawlessly portrays his dim-witted character, repeatedly stabbing himself with his Roman sword throughout the film. His hyperbolic facial expressions of wonder and confusion perfectly depict the over-the-top acting that occurred in old movies.
Tatum expresses both the mysterious and boyish sides of his character Burt with an irresistible charm. Unlike in some of his previous movies, like “21 Jump Street,” where he seems awkward and clumsy, his performance in “Hail, Caesar!” is as smooth as his dance moves.
Ehrenreich’s Hobie outdoes the rest of the cast. His modesty combined with a southern drawl and can-do attitude makes him the most likable character of the movie. Whether he’s acrobatically dismounting a galloping horse or squeaking across a set in a suit, his performance is both compelling and funny in every scene.
However, what makes the film stumble is its loyalty to creating outrageous contrasts between drama and comedy. Sometimes the melodrama builds up too much, and the Gregorian chants and opera music become humorlessly over-the-top.
The biggest letdown of the entire film is Brolin’s character, Mannix. In the beginning, when he is in confession for smoking, a brooding air surrounds his character. Throughout the film, he does not develop beyond that, which is boring in comparison to the motley crew of actors in his studio.
In fact, the moments where the film does not concentrate on creating dramatic irony, but instead just becomes pure comedy are its most enjoyable.
When Hobie is out at a restaurant post movie premiere, entertaining his date at the table, hilarity ensues. Talking in his country drawl, he knots a noodle into a lasso and begins to twirl it around, joking that it is not regulation. Tossing the lasso and looping it around his date’s finger, he pulls her toward him as they both laugh, uninhibited. At that moment, he doesn’t just capture the girl’s attention, but gains the audience’s adoration.
During this scene, the audience realizes why Mannix can’t seem to decide whether or not to leave the “circus.”
Yes, the industry just like the nicotine may be toxic. But it is also endearing, which explains why both Mannix and moviegoers themselves can’t seem to kick the addiction.
– Kelsey Stern