A study of the career of independent film-writers, directors and producers, the Coen Brothers.
Written in 2002; 3,040 words; 9 sources; MLA; $ 89.95
Paper Summary:
This essay discusses the aesthetic choices the Coen Brothers made throughout their career. It studies the films "Raising Arizona" for creative lens use in a farce, "Miller's Crossing" for camera angles in a gangster film, "Fargo" for long takes in a police thriller and "The Man Who Wasn't There" for lighting in a film noir. The paper argues that through the use of aesthetics the Coens shape each genre they try with their own signature auteur style.
From the Paper:
"In a world where big-budget studios control most of what is seen in theatres, the Coen Brothers have managed to make independent features that they write, produce and direct as a team, and have had some moderate success. Their scripts often focus on unlikely heroes; they choose completely average people and places to become the focus of their quirky dialogue and situational comedy. Their charismatic "normal" characters have attracted a number of top actors and actresses to their projects, such as Holly Hunter, Nicholas Cage, John Goodman, Steve Buscemi, John Turturro, and Francis McDormand. In fact, with a reputation for making quality films, although often commercial failures, some of Hollywood's most respected actors have lowered their usual salaries to appear in Coen films. Tim Robbins appeared with Paul Newman in The Hudsucker Proxy, between projects of his own in the early nineties, Jeff Bridges took the leading role in The Big Lebowski with Julianne Moore in a supporting part, George Clooney followed up his success on ER with the main role in Oh Brother, Where Art Thou, and the Coens recruited Billy Bob Thorton and James Gandolfini for The Man Who Wasn?t There. These stars have helped the brothers propel their own names into stardom, despite the only moderate success of their feature films, and have made their pictures well-known cult classics."
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