There’s a Red’s house over yonder: Hail, Caesar! ***
By Dennis Hartley
Not that Hollywood ever tires of making movies about Hollywood…but “they” really seem to be on a roll lately. Arriving on the heels of Jay Roach’s Trumbo (my review), which depicted the Red Scare-induced fear and paranoia that permeated the film industry in the 1950s through the eyes of a slightly fictionalized real-life participant, we now have the latest effort from co-writer-directors Joel and Ethan Coen…which depicts the Red Scare-induced fear and paranoia that permeated the industry in the 1950s through the eyes of a slightly fictionalized real-life participant (although in this case, its funnier side).
In fact, the Coens have gone into full “screwball” mode for Hail, Caesar! – leaving no gag unturned (think The Hudsucker Proxy
or O Brother, Where Art Thou? 
). That said, it wouldn’t be a Coen Brothers film without its Conflicted Everyman Protagonist; for this outing it’s Hollywood “fixer” Eddie Mannix, (the ubiquitous Josh Brolin). Not unlike his (wholly fictional) contemporary counterpart “Ray Donovan” (who I wrote about recently) he’s a responsible family man on the one hand, yet earns his living in a twilight world where he is required to bend whatever rules he needs to (moral and/or legal) in order to clean up after his clients. Also like Donovan, Mannix is racked by Catholic guilt.
or O Brother, Where Art Thou? ). That said, it wouldn’t be a Coen Brothers film without its Conflicted Everyman Protagonist; for this outing it’s Hollywood “fixer” Eddie Mannix, (the ubiquitous Josh Brolin). Not unlike his (wholly fictional) contemporary counterpart “Ray Donovan” (who I wrote about recently) he’s a responsible family man on the one hand, yet earns his living in a twilight world where he is required to bend whatever rules he needs to (moral and/or legal) in order to clean up after his clients. Also like Donovan, Mannix is racked by Catholic guilt.
When Mannix isn’t in the confession box (which provides some the film’s more drolly amusing scenes) he’s busy putting out fires; like the one that involves the kidnapping of Baird Whitlock (George Clooney), one of Capitol Studio’s biggest stars. Whitlock has been snatched off the set of his latest picture (a sword-and-sandal epic bearing a striking resemblance to Spartacus 
) by an enigmatic organization called The Future…whose true identity I’m sworn to protect, in the interest of remaining spoiler-free. In the meantime, Mannix has to stave off a pair of persistent gossip columnists (twin sisters played by Tilda Swinton, who through no fault of her own has to follow Helen Mirren’s recent bigger-than-life, Golden Globes and SAG-nominated turn as Hedda Hopper in Trumbo).
) by an enigmatic organization called The Future…whose true identity I’m sworn to protect, in the interest of remaining spoiler-free. In the meantime, Mannix has to stave off a pair of persistent gossip columnists (twin sisters played by Tilda Swinton, who through no fault of her own has to follow Helen Mirren’s recent bigger-than-life, Golden Globes and SAG-nominated turn as Hedda Hopper in Trumbo).
Truth be told, the narrative is actually a bit thin in this fluffier-than-usual Coen outing; it’s primarily a skeleton around which the brothers can construct a portmanteau of 50s movie parodies. 1950s musicals provide fodder for several set pieces; including an Esther Williams sendup (with Scarlett Johanssen poured into a mermaid suit), and a takeoff of On the Town
, featuring a nimble-footed Channing Tatum firing up a barroom full of hunky sailors and leading them in a winking, cheerfully homoerotic song and dance. Singing westerns are parodied via Alden Ehrenreich’s character, a hick who hit the big time based not so much on his acting abilities (which are nominal), but rather due to his looks and rodeo skills. And the main plot itself cleverly mirrors 1950s Red Scare films like Big Jim McLain
and I Was a Communist for the FBI
(I also found the kidnappers’ hideaway to be suspiciously reminiscent of the antagonists’ digs in North By Northwest 
).
, featuring a nimble-footed Channing Tatum firing up a barroom full of hunky sailors and leading them in a winking, cheerfully homoerotic song and dance. Singing westerns are parodied via Alden Ehrenreich’s character, a hick who hit the big time based not so much on his acting abilities (which are nominal), but rather due to his looks and rodeo skills. And the main plot itself cleverly mirrors 1950s Red Scare films like Big Jim McLain and I Was a Communist for the FBI (I also found the kidnappers’ hideaway to be suspiciously reminiscent of the antagonists’ digs in North By Northwest ).
Brolin plays it straight, Clooney plays it broad, Ehrenreich is endearing, Johanssen is, uh, gorgeous, and Tatum proves quite adept at comedy (who knew?). Ralph Fiennes hams it up as a finicky “prestige” director, and you can have fun playing “spot the cameo” with the likes of Frances McDormand, Jonah Hill, Clancy Brown, Christopher Lambert, and Dolph Lundgren. This is far from the Coen’s best work, but the film has just enough of their patented “little touches” (like a Communist who has named his dog “Engels”) that make it unmistakably Coen. Oh-and a character is repeatedly told to shut up; undoubtedly this is a callback to the catchphrase “Shut the fuck up, Donnie!” from The Big Lebowski 
.
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Which is what I will do now.
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—Dennis Hartley