The Coen Brothers have often given a typical genre their quirky bent; For example, "Miller's Crossing" not only reinvents but also deconstructs the "Gangster" film while "Fargo" has a go at contemporary murder mysteries. The Coens, as often as not, however, riff off of some genres and cinematic classifications not quite as overtly obvious as others. In "O Brother Where Art Thou?" the Coens seem to be giving their particular twist to Depression era films, hillbilly films, chain gang films and country musicals. There aren't a whole hell of a lot of films in these genres to act as influence, so to call this film a homage to or a deconstruction of such categories is really not quite appropriate.

Additionally - or perhaps conversely, two influences are also at play here that are more particular. The title refers to a "fictional" film in Preston Sturges' masterful "Sullivan's Travels." In that 30's film, a director of some popularity wants to make a film about the "real" people of the Depression era. He ends up hitting the road disguised as a hobo in hopes of meeting such folk. The film the director wants to make is to be called "O Brother Where Art Thou?" This is the Coens' apparent idea of what that film might have been like. Secondly, the Coens freely admit, via the opening credits, that the film is "based," albeit loosely, on Homer's "The Odyssey." All of these influences and desperate angles add up splendidly in the hands of America's most quirky filmmakers.

"O Brother Where Art Thou" finds a trio of chain gang convicts in the Depression era South on the lam. Led by George Clooney, a dapper and verbose con-man who is as concerned about his coif as his freedom, the trio also contains John Turturro as a dimwitted hick and Tim Blake Nelson as a even more stupid follower. Nelson, though, to his credit, has a heart of pure love. The chemistry between these three protagonists leads to some of the most amusing and delightful moments in film to be found in any Coens' production. Utilizing their great feel for the American language, especially it's idiosyncratic lingo of past eras, the Coens offer up some of the most charming and refreshing dialogue to grace a film, well, since "Fargo." Here instead of the North, however, we are dealing with the South, but much like "Fargo" and "Miller's Crossing," the Coens tweak up the argot for maximum humor and fascination.

The look of the film is also quite wondrous with the color yellow, or at least a golden hue of it, becoming quite effective. The pictures often seem like washed out and colorless drab depictions of the Depression era farm roads and characters, but just as often comes to life with this brilliant golden hue. It's as if the sun has become dangerous close to the Earth and washed all color out of the surroundings. Then fills the frame with it's brilliant shimmer. The film is always gorgeous to view.

But it is story and dialogue that truly drive "O Brother" and the Coens have a genius here that is all their own. This is the best film by the brothers since "Barton Fink" and even though it does not have the pure power of that film to evoke goosebumps and tingling head, it does have the power to entertain, delight and amuse. In this quality it is one of the best features to come out of Hollywood in this or any other year. It's no surprise that the Coens were involved. They prove themselves yet again here as one of America's greatest filmmaking treasures. Here's hoping they continue making quirky and charming films well into this new century.

Note:

Also with Holly Hunter, Charles Durning, and Stephen Root.

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