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You Know What Happens to Liars Donny the Big Lebowski

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1998 film by Joel and Ethan Coen

The Big Lebowski
Biglebowskiposter.jpg

Theatrical release affiche
Directed by Joel Coen
Written past
  • Ethan Coen
  • Joel Coen
Produced by Ethan Coen
Starring
  • Jeff Bridges
  • John Goodman
  • Julianne Moore
  • Steve Buscemi
  • David Huddleston
  • John Turturro
  • Philip Seymour Hoffman
Cinematography Roger Deakins
Edited past
  • Roderick Jaynes[a]
  • Tricia Cooke
Music by Carter Burwell

Production
visitor

Working Championship Films
Distributed by
  • Gramercy Pictures (U.s.)
  • PolyGram Filmed Entertainment (International)

Release dates
  • January xviii, 1998 (1998-01-eighteen) (Sundance)
  • March 6, 1998 (1998-03-06) (U.S.)
  • April 24, 1998 (1998-04-24) (U.K.)

Running time

 117 minutes
Countries
  • United states[one] [two]
  • United Kingdom[2] [3]
Language English
Budget $xv 1000000
Box office $46.vii million[four]

The Big Lebowski () is a 1998 blackness comedy crime pic written, produced, and directed by Joel and Ethan Coen. Information technology stars Jeff Bridges as Jeffrey "The Dude" Lebowski, a Los Angeles slacker and avid bowler. He is assaulted every bit a consequence of mistaken identity, and so learns that a millionaire too named Jeffrey Lebowski (David Huddleston) was the intended victim. The millionaire Lebowski's trophy wife is kidnapped, and he commissions The Dude to deliver the bribe to secure her release; the plan goes awry when the Dude's friend Walter Sobchak (John Goodman) schemes to keep the ransom money. Sam Elliott, Julianne Moore, Steve Buscemi, John Turturro, Philip Seymour Hoffman, Tara Reid, David Thewlis, Peter Stormare, and Ben Gazzara also appear, in supporting roles.

The motion-picture show is loosely inspired by the work of Raymond Chandler. Joel Coen stated, "We wanted to do a Chandler kind of story – how information technology moves episodically, and deals with the characters trying to unravel a mystery, likewise as having a hopelessly complex plot that'south ultimately unimportant."[five] The original score was composed past Carter Burwell, a longtime collaborator of the Coen brothers.

The Big Lebowski received mixed reviews at the time of its release. Over time, reviews have become largely positive, and the film has become a cult favorite,[6] noted for its eccentric characters, comedic dream sequences, idiosyncratic dialogue, and eclectic soundtrack.[7] In 2014, the film was selected for preservation in the United States National Pic Registry by the Library of Congress, being deemed "culturally, historically, or aesthetically pregnant". A spin-off, titled The Jesus Rolls, was released in 2020, with Turturro reprising his function and also serving as writer and manager.[8] [nine] [10]

Plot [edit]

In the early 1990s, Los Angeles slacker Jeffrey "The Dude" Lebowski is assaulted in his home past ii enforcers for porn kingpin Jackie Treehorn, who is owed money by the wife of a different Jeffrey Lebowski. One of the goons urinates on the Dude's favorite rug earlier they realize they have the wrong man and leave.

Advised by his bowling partners, Vietnam veteran Walter Sobchak and Donny Kerabatsos, the Dude visits wealthy philanthropist Jeffrey ("Big") Lebowski, demanding compensation for the rug. Large refuses, but the Dude tricks Big'southward banana Brandt into letting him take a similar rug from the mansion. Outside he meets Bunny, Large's bays wife, and her German nihilist friend Uli. Before long after this, Bunny is apparently kidnapped and Big hires The Dude to deliver the requested ransom money, 1 meg dollars. That night, a different pair of thugs address the Dude, taking his replacement rug on behalf of Big's daughter Maude, who has a sentimental attachment to it.

The kidnappers arrange to collect the bribe. Convinced that Bunny "kidnapped herself", Walter concocts a scheme to keep the ransom coin by substituting it with a briefcase full of his dirty laundry. Although things do not go entirely according to Walter'southward plan, the kidnappers get out with Walter'south laundry, and Walter and The Dude return to the bowling alley, leaving the ransom coin in the trunk of his machine. While the bowlers bowl, the car is stolen from the parking lot.

Revealing Bunny is one of Treehorn's actresses and lovers, Maude agrees that Bunny staged her own abduction and asks for the Dude'south help to recover the money, which her male parent illegally withdrew from the family's foundation. Afterward, the Dude is separately confronted for his failure to evangelize the ransom past both Big and a trio of German nihilists who place themselves as the kidnappers. Maude is able to confirm that the Germans are Bunny's friends.

The Dude's car, minus the briefcase, is recovered by police force. Driving domicile after a meeting with Maude, the Dude finds homework stuffed down in the seat, signed "Larry Sellers." Walter and the Dude confront Larry at his father'due south domicile, interrogating him nigh the missing briefcase. When he is unresponsive, Walter bashes a new sports car parked exterior, thinking the teen had used the coin to purchase it. The auto's actual owner, a neighbour, appears and retaliates by bashing the Dude's automobile, mistaking it for Walter'southward.

The Dude returns home, where he finds Maude wearing merely a robe. They take sex, and Maude tells the Dude that her father has no money of his ain; the family unit fortune belonged to her late female parent who left him none, the concluding piece of information which The Dude needs to work out the unabridged scheme: later on Bunny left town, her nihilist friends faked her kidnapping to extort coin from her husband. Big withdrew the ransom from the family trust but kept it for himself, not caring what happened to his wife, giving the Dude a briefcase containing phone books instead.

In a final confrontation exterior of the bowling alley, the nihilists ready the Dude's automobile on fire, and demand the ransom money. Walter violently fends them off, but during the scuffle, Donny dies from a heart attack. Before handful Donny's ashes from a cliff overlooking the Pacific Sea, Walter delivers a eulogy that turns into a diatribe most the Vietnam War. He scatters the ashes, which an updraft blows back over himself and the Dude. The Dude chastises Walter for the eulogy and Walter apologizes; the two go bowling.

Cast [edit]

  • Jeff Bridges as Jeffrey "The Dude" Lebowski
  • John Goodman equally Walter Sobchak
  • Julianne Moore as Maude Lebowski
  • Steve Buscemi as Donny Kerabatsos
  • David Huddleston every bit Jeffrey "The Big" Lebowski
  • Philip Seymour Hoffman as Brandt
  • Tara Reid as Bunny Lebowski
  • John Turturro as Jesus Quintana
  • Sam Elliott as The Stranger
  • David Thewlis as Knox Harrington
  • Ben Gazzara as Jackie Treehorn
  • Peter Stormare, Torsten Voges, and Flea as Uli Kunkel/Karl Hungus, Franz, and Kieffer, the nihilists
  • Jon Polito every bit Da Fino
  • Philip Moon and Marking Pellegrino every bit Treehorn's thugs
  • Jimmie Dale Gilmore as Smokey
  • Jack Kehler as Marty, The Dude'south landlord
  • Dom Irrera as Tony, the chauffeur
  • Harry Bugin as Arthur Digby Sellers
  • Jesse Flanagan as Larry Sellers
  • Leon Russom as the Malibu Police force Chief
  • Warren Keith equally Francis Donnelly, funeral director
  • Marshall Manesh as Medico
  • Asia Carrera as Sherry, porn actress[11]
  • Aimee Isle of man as Franz'south girlfriend
  • Richard Gant and Christian Clemenson as cops

Production [edit]

Development [edit]

The Dude is mostly inspired past Jeff Dowd, an American picture producer and political activist the Coen brothers met while they were trying to find distribution for their first characteristic, Blood Simple.[12] : 90 [xiii] Dowd had been a member of the Seattle Seven, liked to potable White Russians, and was known as "The Dude".[12] : 91–92 The Dude was also partly based on a friend of the Coen brothers, Peter Exline (now a member of the kinesthesia at USC's Schoolhouse of Cinematic Arts), a Vietnam War veteran who reportedly lived in a dump of an flat and was proud of a little rug that "tied the room together".[fourteen] : 188 Exline knew Barry Sonnenfeld from New York University and Sonnenfeld introduced Exline to the Coen brothers while they were trying to raise money for Blood Simple.[12] : 97–98 Exline became friends with the Coens and in 1989, told them all kinds of stories from his ain life, including ones about his actor-author friend Lewis Abernathy (1 of the inspirations for Walter), a boyfriend Vietnam vet who later became a private investigator and helped him rails down and face a high school kid who stole his car.[12] : 99 As in the movie, Exline'due south car was impounded by the Los Angeles Law Department and Abernathy found an 8th grader'due south homework under the rider seat.[12] : 100

Exline also belonged to an amateur softball league but the Coens changed it to bowling in the film, considering "information technology'southward a very social sport where you can sit down effectually and drink and fume while engaging in inane conversation".[14] : 195 The Coens met filmmaker John Milius when they were in Los Angeles making Barton Fink and incorporated his love of guns and the military into the character of Walter.[14] : 189 John Milius introduced the Coen Brothers to 1 of his best friends, Jim Ganzer, who would take been another source of inferences to create Jeff Bridges' graphic symbol.[15] Also known as the Dude,[sixteen] Ganzer and his gang, typical Malibu surfers, served every bit inspiration as well for Milius'south film Big Midweek.[17]

Earlier David Huddleston was cast as "Big" Jeffrey Lebowski, the Coens considered Robert Duvall (who didn't like the script), Anthony Hopkins (who wasn't interested playing an American), Gene Hackman (who was taking a suspension from acting at the time), Norman Mailer, George C. Scott, Jerry Falwell, Gore Vidal, Andy Griffith, William F. Buckley, and Ernest Borgnine. The Coens' top choice was Marlon Brando, simply he was unable to star in the film due to health problems.[xviii] Charlize Theron was considered for the role of Bunny Lebowski.[19]

According to Julianne Moore, the character of Maude was based on artist Carolee Schneemann, "who worked naked from a swing", and on Yoko Ono.[xx] : 156 The character of Jesus Quintana, an opponent of The Dude'due south bowling team, was inspired in part by a performance the Coens had seen John Turturro requite in 1988 at the Public Theater in a play called Mi Puta Vida in which he played a pederast-type character, "and so we thought, let'southward make Turturro a pederast. It'll be something he can really run with," Joel said in an interview.[xiv] : 195

The picture'southward overall structure was influenced by the detective fiction of Raymond Chandler. Ethan said, "We wanted something that would generate a certain narrative feeling – like a modern Raymond Chandler story, and that'south why information technology had to exist set in Los Angeles ... We wanted to have a narrative flow, a story that moves like a Chandler book through different parts of town and different social classes."[21] The utilise of the Stranger's vocalization-over as well came from Chandler as Joel remarked, "He is a lilliputian chip of an audition substitute. In the pic adaptation of Chandler it's the chief character that speaks off-screen, but nosotros didn't want to reproduce that though it obviously has echoes. It'due south as if someone was commenting on the plot from an all-seeing point of view. And at the same fourth dimension rediscovering the former earthiness of a Mark Twain."[twenty] : 169

The significance of the bowling culture was, according to Joel, "important in reflecting that period at the end of the fifties and the beginning of the sixties. That suited the retro side of the movie, slightly anachronistic, which sent us back to a non-so-far-away era, just one that was well and truly gone nonetheless."[xx] : 170

Screenplay [edit]

The Coen Brothers wrote The Big Lebowski around the same time as Barton Fink. When the Coen brothers wanted to make it, John Goodman was filming episodes for Roseanne and Jeff Bridges was making the Walter Colina movie Wild Bill. The Coens decided to make Fargo in the concurrently.[14] : 189 According to Ethan, "the movie was conceived every bit pivoting effectually that human relationship between the Dude and Walter", which sprang from the scenes between Barton Fink and Charlie Meadows in Barton Fink.[20] : 169 They likewise came up with the idea of setting the film in contemporary L.A., because the people who inspired the story lived in the surface area.[22] : 41 When Pete Exline told them about the homework in a baggie incident, the Coens thought that that was very Raymond Chandler and decided to integrate elements of the writer'southward fiction into their script. Joel Coen cites Robert Altman'southward The Long Goodbye as a primary influence on their movie, in the sense that The Big Lebowski "is just kind of informed by Chandler effectually the edges".[22] : 43 When they started writing the script, the Coens wrote only 40 pages and and so let it sit down for a while earlier finishing it. This is a normal writing process for them, considering they often "encounter a problem at a certain stage, we pass to some other project, then we come back to the first script. That style we've already accumulated pieces for several futurity movies."[20] : 171 In society to liven up a scene that they thought was too heavy on exposition, they added an "effete art-world hanger-on", known as Knox Harrington, late in the screenwriting process.[23] In the original script, the Dude's car was a Chrysler LeBaron, as Dowd had once owned, but that auto was non big enough to fit John Goodman then the Coens changed it to a Ford Torino.[12] : 93

Pre-production [edit]

PolyGram and Working Title Films, which had funded Fargo, backed The Large Lebowski with a budget of $15 million. In casting the picture, Joel remarked, "we tend to write both for people nosotros know and have worked with, and some parts without knowing who's going to play the office. In The Big Lebowski we did write for John [Goodman] and Steve [Buscemi], but we didn't know who was getting the Jeff Bridges role."[24] Mel Gibson was originally considered for the part of The Dude, but he didn't take the pitch as well seriously.[25] In preparation for his role, Bridges met Dowd but actually "drew on myself a lot from back in the Sixties and Seventies. I lived in a little place like that and did drugs, although I think I was a piffling more than creative than the Dude."[14] : 188 The player went into his ain cupboard with the film'due south wardrobe person and picked out clothes that he had idea the Dude might wear.[12] : 27 He wore his character's dress home because most of them were his own.[26] The actor besides adopted the same physicality equally Dowd, including the slouching and his ample abdomen.[12] : 93 Originally, Goodman wanted a different kind of beard for Walter just the Coen brothers insisted on the "Gladiator" or what they called the "Chin Strap" and he thought it would go well with his flattop haircut.[12] : 32

For the movie'southward look, the Coens wanted to avoid the usual retro 1960s clichés like lava lamps, Day-Glo posters, and Grateful Dead music[22] : 95 and for it to be "consistent with the whole bowling thing, we wanted to keep the movie pretty bright and poppy", Joel said in an interview.[14] : 191 For instance, the star motif, featured predominantly throughout the picture, started with the motion-picture show's production designer Richard Heinrichs' design for the bowling alley. According to Joel, he "came up with the idea of just laying free-form neon stars on top of it and doing a like complimentary-form star thing on the interior". This carried over to the film's dream sequences. "Both dream sequences involve star patterns and are well-nigh lines radiating to a point. In the get-go dream sequence, the Dude gets knocked out and you run across stars and they all coalesce into the overhead nightscape of L.A. The 2d dream sequence is an astral surround with a backdrop of stars", remembers Heinrichs.[14] : 191 For Jackie Treehorn's Malibu beach house, he was inspired by late 1950s and early 1960s bachelor pad furniture. The Coen brothers told Heinrichs that they wanted Treehorn's beach party to be Inca-themed, with a "very Hollywood-looking party in which immature, oiled-down, fairly aggressive men walk around with appetizers and drinks. So there'due south a very sacrificial quality to information technology."[22] : 91

Cinematographer Roger Deakins discussed the expect of the motion-picture show with the Coens during pre-product. They told him that they wanted some parts of the film to take a real and contemporary feeling and other parts, like the dream sequences, to accept a very stylized look.[22] : 77 Bill and Jacqui Landrum did all of the choreography for the moving-picture show. For his trip the light fantastic toe sequence, Jack Kehler went through iii three-hour rehearsals.[12] : 27 The Coen brothers offered him three to four choices of classical music for him to pick from and he chose Modest Mussorgsky's Pictures at an Exhibition. At each rehearsal, he went through each phase of the piece.[12] : 64

Primary photography [edit]

Bodily filming took identify over an xi-week catamenia with location shooting in and effectually Los Angeles, including all of the bowling sequences at the Hollywood Star Lanes (for three weeks)[27] and the Dude'due south Busby Berkeley dream sequences in a converted airplane hangar.[21] According to Joel, the merely fourth dimension they ever directed Bridges "was when he would come over at the commencement of each scene and inquire, 'Practise you think the Dude burned one on the way over?' I'd reply 'Aye' usually, and then Jeff would go over in the corner and start rubbing his eyes to go them bloodshot."[14] : 195 Julianne Moore was sent the script while working on The Lost Globe: Jurassic Park. She worked but ii weeks on the film, early and late during the production that went from January to April 1997[28] while Sam Elliott was but on set up for two days and did many takes of his final voice communication.[12] : 46

The scenes in Jackie Treehorn's house were shot in the Sheats-Goldstein Residence, designed past John Lautner and built in 1963 in the Hollywood Hills.[29]

Deakins described the look of the fantasy scenes as beingness very crisp, monochromatic, and highly lit in lodge to afford greater depth of focus. However, with the Dude's apartment, Deakins said, "it's kind of seedy and the light's pretty nasty" with a grittier wait. The visual bridge between these 2 different looks was how he photographed the night scenes. Instead of adopting the usual blue moonlight or blue street lamp look, he used an orange sodium-light event.[22] : 79 The Coen brothers shot much of the movie with broad-angle lens because, co-ordinate to Joel, it made it easier to hold focus for a greater depth and it made camera movements more than dynamic.[22] : 82

To accomplish the bespeak-of-view of a rolling bowling ball the Coen brothers mounted a camera "on something similar a charcoal-broil spit", co-ordinate to Ethan, and then dollied it along the lane. The challenge for them was figuring out the relative speeds of the forward motion and the rotating motility. CGI was used to create the vantage point of the thumb hole in the bowling ball.[28]

Soundtrack [edit]

The Big Lebowski: Original Moving-picture show Soundtrack
Soundtrack album by

Various artists
Released February 24, 1998
Genre Rock, classical, jazz, country, folk, pop
Length 51:45
Label Mercury
Producer T-Bone Burnett, Joel Coen, Ethan Coen
Coen Brothers film soundtracks chronology
Fargo
(1996) 		The Large Lebowski: Original Motility Picture Soundtrack
(1998) 		O Brother, Where Art Thou?
(2000)

The original score was composed by Carter Burwell, a veteran of all the Coen Brothers' films. While the Coens were writing the screenplay they had Kenny Rogers' "Just Dropped In (to See What Condition My Condition Was in)", the Gipsy Kings' comprehend of "Hotel California", and several Creedence Clearwater Revival songs in mind.[30] They asked T-Os Burnett (who would later piece of work with the Coens on O Brother, Where Art Grand? and Inside Llewyn Davis) to pick songs for the soundtrack of the moving-picture show. They knew that they wanted different genres of music from dissimilar times only, every bit Joel remembers, "T-Bone even came up with some far-out Henry Mancini and Yma Sumac."[31] Burnett was able to secure songs by Kenny Rogers and the Gipsy Kings and likewise added tracks by Captain Beefheart, Moondog and Bob Dylan's "The Homo in Me".[30] All the same, he had a tough time securing the rights to Townes Van Zandt's cover of the Rolling Stones' "Dead Flowers", which plays over the film'southward endmost credits. One-time Stones manager Allen Klein owned the rights to the song and wanted $150,000 for it. Burnett convinced Klein to watch an early cut of the pic and remembers, "Information technology got to the part where the Dude says, 'I hate the fuckin' Eagles, man!' Klein stands up and says, 'That's it, y'all can have the song!' That was beautiful."[30] [32] Burnett was going to exist credited on the moving-picture show as "Music Supervisor", just asked his credit to be "Music Archivist" because he "hated the notion of being a supervisor; I wouldn't want anyone to think of me as direction".[31]

For Joel, "the original music, every bit with other elements of the pic, had to echo the retro sounds of the Sixties and early on Seventies".[20] : 156 Music defines each character. For example, "Tumbling Tumbleweeds" by Bob Nolan was called for the Stranger at the fourth dimension the Coens wrote the screenplay, as was "Lujon" past Henry Mancini for Jackie Treehorn. "The German language nihilists are accompanied past techno-pop and Jeff Bridges by Creedence. So there's a musical signature for each of them", remarked Ethan in an interview.[20] : 156 The grapheme Uli Kunkel was in the German language electronic band Autobahn, an homage to the band Kraftwerk. The anthology embrace of their tape Nagelbett (bed of nails) is a parody of the Kraftwerk album cover for The Man-Auto and the group name Autobahn shares the name of a Kraftwerk vocal and album. In the lyrics the phrase "We believe in nothing" is repeated with electronic distortion. This is a reference to Autobahn'south nihilism in the film.[33]

No. Championship Writer(south) Performer Length
1. "The Man in Me" Bob Dylan Dylan three:08
2. "Her Optics Are a Blue One thousand thousand Miles" Captain Beefheart Beefheart two:54
iii. "My Mood Swings" Elvis Costello and Cait O'Riordan Costello ii:10
4. "Ataypura" Moises Vivanco Yma Sumac iii:03
v. "Traffic Nail" Piero Piccioni Piccioni 3:15
6. "I Got It Bad & That Own't Good" Duke Ellington and Paul Francis Webster Nina Simone 4:07
7. "Stamping Ground" (The track actually includes two songs, starting with "Theme", which then leads to "Stamping Ground") Moondog Moondog 5:11
8. "Just Dropped In (To See What Condition My Status Was In)" Mickey Newbury Kenny Rogers & The Outset Edition 3:21
ix. "Walking Song" Meredith Monk Monk 2:55
10. "Glück das mir verblieb" (from Die tote Stadt) Erich Wolfgang Korngold Ilona Steingruber, Anton Dermota and the Austrian Land Radio Orchestra five:08
11. "Lujon" Henry Mancini Mancini 2:38
12. "Hotel California" Don Henley, Glenn Frey and Don Felder The Gipsy Kings 5:47
xiii. "Technopop" (Wie Glauben) Carter Burwell Burwell 3:21
14. "Expressionless Flowers" Mick Jagger and Keith Richards Townes Van Zandt 4:47
Total length: 51:45
Other music used (non on soundtrack album)
No. Title Writer(s) Performer Length
ane. "Tumbling Tumbleweeds" Bob Nolan Sons of the Pioneers
2. "Mucha Muchacha" Juan García Esquivel Esquivel
3. "I Hate You" Gary Burger, David Havlicek, Roger Johnston, Thomas E. Shaw and Larry Spangler The Monks
4. "Requiem in D Small: Introitus and Lacrimosa" Wolfgang Amadeus Mozart The Slovak Philharmonic Orchestra and Choir
5. "Run Through the Jungle" John Fogerty Creedence Clearwater Revival
6. "Behave Yourself" Booker T. Jones, Steve Cropper, Al Jackson, Jr. and Lewie Steinberg Booker T. & the MG's
7. "Continuing on the Corner" Frank Loesser Dean Martin
8. "Tammy" Jay Livingston and Ray Evans Debbie Reynolds
9. "We Venerate Thy Cantankerous" traditional The Rustavi Choir
10. "Lookin' Out My Dorsum Door" John Fogerty Creedence Clearwater Revival
11. "Gnomus" (from Pictures at an Exhibition) Modest Mussorgsky, arranged for orchestra past Maurice Ravel.
12. "Oye Como Va" Tito Puente Santana
xiii. "Piacere Sequence" Teo Usuelli Usuelli
fourteen. "Branded Theme Vocal" Alan Alch and Dominic Frontiere
15. "Peaceful Easy Feeling" Jack Tempchin Eagles
16. "Viva Las Vegas" Medico Pomus and Mort Shuman ZZ Tiptop (with Bunny Lebowski); and Shawn Colvin (closing credits).
17. "Dick on a Case" Carter Burwell Burwell

Reception [edit]

Box office [edit]

The Big Lebowski received its world premiere at the 1998 Sundance Pic Festival on January 18, 1998, at the one,300-capacity Eccles Theater. It was likewise screened at the 48th Berlin International Film Festival[34] [35] before opening in Due north America on March vi, 1998, in one,207 theaters. It grossed $5.five million on its opening weekend, finishing upwardly with a gross of $18 1000000 in the United States, but above its Usa$15 million budget. The film's worldwide gross outside of the U.s. was $28.7 million, bringing its worldwide gross to $46.vii one thousand thousand.[4]

Critical response [edit]

On review aggregator Rotten Tomatoes, the film holds an approval rating of 83% based on 109 reviews, with an average score of 7.5/10. The website's critics consensus reads, "Typically stunning visuals and precipitous dialogue from the Coen Brothers, brought to life with strong performances from Goodman and Bridges."[36] Metacritic, which uses a weighted boilerplate, has assigned the film a score of 71 out of 100 based on reviews from 23 critics, indicating "more often than not favorable reviews."[37] Audiences polled by CinemaScore gave the moving-picture show an average form of "B" on an A+ to F scale.[38]

Many critics and audiences have likened the film to a modern Western, while many others dispute this, or liken it to a criminal offence novel that revolves around mistaken identity plot devices.[39] Peter Howell, in his review for the Toronto Star, wrote: "It's difficult to believe that this is the work of a team that won an Oscar final year for the original screenplay of Fargo. There'due south a large amount of profanity in the movie, which seems a weak attempt to paper over dialogue gaps."[40] Howell revised his stance in a after review, and in 2011 stated that "information technology may but be my favourite Coen Bros. film."[41]

Todd McCarthy in Variety magazine wrote: "One of the moving-picture show'southward indisputable triumphs is its soundtrack, which mixes Carter Burwell's original score with classic pop tunes and some fabulous covers."[42] USA Today gave the film 3 out of four stars and felt that the Dude was "too passive a hero to sustain involvement," merely that there was "enough startling brilliance here to advise that, just like the Dude, those smarty-pants Coens will bide."[43]

In his review for The Washington Mail, Desson Howe praised the Coens and "their inspired, absurdist taste for weird, peculiar Americana – just a sort of neo-Americana that is entirely invented – the Coens have divers and mastered their own bizarre subgenre. No i does it like them and, it almost goes without saying, no one does information technology meliorate."[44]

Janet Maslin praised Bridges' performance in her review for The New York Times: "Mr. Bridges finds a role so right for him that he seems never to have been anywhere else. Watch this performance to see shambling executed with nonchalant grace and a seemingly out-to-luncheon graphic symbol played with fine comic flair."[45] Andrew Sarris, in his review for the New York Observer, wrote: "The result is a lot of laughs and a feeling of awe toward the craftsmanship involved. I dubiousness that at that place'll be anything else similar information technology the rest of this year."[46] In a five star review for Empire Magazine, Ian Nathan wrote: "For those who delight in the Coens' divinely abstract take on reality, this is pure nirvana" and "in a perfect world all movies would be made past the Coen brothers."[47] Roger Ebert of the Chicago Sunday-Times gave the film three stars out of 4, describing information technology as "weirdly engaging."[48] In a 2010 review, he raised his original score to four stars out of iv and added the film to his "Slap-up Movies" listing.[49]

However, Jonathan Rosenbaum wrote in the Chicago Reader: "To be sure, The Large Lebowski is packed with show-offy filmmaking and as a issue is pretty entertaining. Merely insofar every bit it represents a moral position—and the Coens' relative styling of their figures invariably does—it's an elitist ane, elevating common salt-of-the-earth types like Bridges and Goodman ... over everyone else in the motion-picture show."[l] Dave Kehr, in his review for the Daily News, criticized the film's premise as a "tired thought, and information technology produces an episodic, unstrung film."[51] The Guardian criticized the film as "a agglomeration of ideas shoveled into a pocketbook and allowed to spill out at random. The picture is infuriating, and will win no prizes. But information technology does have some terrific jokes."[52]

Legacy [edit]

Since its original release, The Big Lebowski has become a cult archetype.[vii] Agog fans of the film call themselves "achievers".[53] [54] Steve Palopoli wrote about the film'south emerging cult status in July 2002.[55] He showtime realized that the film had a cult following when he attended a midnight screening in 2000 at the New Beverly Cinema in Los Angeles and witnessed people quoting dialogue from the film to each other.[12] : 129 Soon after the article appeared, the programmer for a local midnight film series in Santa Cruz decided to screen The Big Lebowski and on the first weekend they had to turn away several hundred people. The theater held the film over for six weeks, which had never happened before.[12] : 130

An annual festival, Lebowski Fest, began in Louisville, Kentucky, The states in 2002 with 150 fans showing upward, and has since expanded to several other cities.[56] The festival'south main event each year is a dark of unlimited bowling with various contests including costume, trivia, hardest- and farthest-traveled contests. Held over a weekend, events typically include a pre-fest party with bands the dark before the bowling event as well every bit a day-long outdoor political party with bands, vendor booths and games. Various celebrities from the motion picture have even attended some of the events, including Jeff Bridges who attended the Los Angeles issue.[56] The British equivalent, inspired by Lebowski Fest, is known as The Dude Abides and is held in London.[57]

Dudeism, a religion devoted largely to spreading the philosophy and lifestyle of the motion picture's main character, was founded in 2005. Too known as The Church of the Latter-Day Dude, the organization has ordained over 220,000 "Dudeist Priests" all over the world via its website.[58]

Two species of African spider are named later the motion picture and main grapheme: Anelosimus biglebowski and Anelosimus dude, both described in 2006.[59] Additionally, an extinct Permian conifer genus is named after the film in honor of its creators. The showtime species described within this genus in 2007 is based on 270-meg-year-old plant fossils from Texas, and is called Lebowskia grandifolia.[lx]

Entertainment Weekly ranked it 8th on their Funniest Movies of the By 25 Years list.[61] The movie was also ranked No. 34 on their list of "The Elevation 50 Cult Films"[62] and ranked No. fifteen on the magazine's "The Cult 25: The Essential Left-Field Movie Hits Since '83" list.[63] In improver, the mag also ranked The Dude No. fourteen in their "The 100 Greatest Characters of the Concluding 20 Years" poll.[64] The film was too nominated for the prestigious Grand Prix of the Belgian Film Critics Association.[65] The Large Lebowski was voted as the 10th all-time motion-picture show ready in Los Angeles in the last 25 years by a group of Los Angeles Times writers and editors with 2 criteria: "The picture show had to communicate some inherent truth well-nigh the L.A. feel, and merely i flick per director was immune on the listing."[66] Empire magazine ranked Walter Sobchak No. 49 and the Dude No. 7 in their "The 100 Greatest Flick Characters" poll.[67] Roger Ebert added The Big Lebowski to his listing of "Great Movies" in March 2010.[49]

Spin-off [edit]

The Coen brothers have stated that they volition never make a sequel to The Big Lebowski.[68] Nonetheless, John Turturro expressed interest in reprising his function every bit Jesus Quintana,[69] and in 2014, he announced that he had requested permission to use the grapheme.[70] In August 2016, it was reported that Turturro would reprise his role as Jesus Quintana in The Jesus Rolls, a spin-off of The Big Lebowski, based on the 1974 French film Going Places, with Turturro starring, writing, and directing. It was released in 2020.[71] The Coen brothers, although having granted Turturro the correct to use the graphic symbol, were not involved, and no other grapheme from The Big Lebowski was featured in the moving picture.[72]

Stella Artois commercial [edit]

On Jan 24, 2019, Jeff Bridges posted a five-2d clip on Twitter with the statement: "Tin't exist living in the by, man. Stay tuned" and showing Bridges as the Dude, walking through a room as a tumbleweed rolls by.[73] The clip was a teaser trailer for an advertisement during Super Basin LIII which featured Bridges reprising the role of The Dude for a Stella Artois commercial.[74] [75]

Use as social and political assay [edit]

The picture show has been used as a tool for analysis on a number of bug. In September 2008, Slate published an article that interpreted The Big Lebowski equally a political critique. The center piece of this viewpoint was that Walter Sobchak is "a neocon," citing the film's references to then President George H. W. Bush and the first Gulf War.[76]

A periodical article past Brian Wall, published in the feminist periodical Camera Obscura, uses the film to explicate Karl Marx'southward commodity fetishism and the feminist consequences of sexual fetishism.[77]

In That Rug Actually Tied the Room Together, first published in 2001, Joseph Natoli argues that The Dude represents a counter narrative to the post-Reaganomic entrepreneurial rush for "return on investment" on display in such films as Jerry Maguire and Forrest Gump. [78] [79] [80]

It has been used equally a carnivalesque critique of society, as an analysis on war and ideals, as a narrative on mass communication and U.s.a. militarism and other issues.[81] [82] [83]

Home media [edit]

Universal Studios Habitation Entertainment released a "Collector'south Edition" DVD on October eighteen, 2005, with actress features that included an "introduction past Mortimer Young", "Jeff Bridges' Photography", "Making of The Large Lebowski", and "Production Notes". In add-on, a limited-edition "Achiever'south Edition Souvenir Set" as well included The Big Lebowski Bowling Shammy Towel, four Collectible Coasters that included photographs and quotable lines from the pic, and viii Exclusive Photo Cards from Jeff Bridges' personal collection.[84]

A "10th Ceremony Edition" was released on September ix, 2008, and features all of the extras from the "Collector'southward Edition" and "The Dude's Life: Strikes and Gutters ... Ups and Downs ... The Dude Abides" theatrical trailer (from the first DVD release), "The Lebowski Fest: An Achiever's Story", "Flight Carpets and Bowling Pivot Dreams: The Dream Sequences of the Dude", "Interactive Map", "Jeff Bridges Photo Book", and a "Photo Gallery". There are both a standard release and a Limited Edition which features "Bowling Ball Packaging" and is individually numbered.[85]

A high-definition version of The Large Lebowski was released past Universal on HD DVD format on June 26, 2007. The picture was released in Blu-ray format in Italy past Cecchi Gori.

On August 16, 2011, Universal Pictures released The Big Lebowski on Blu-ray. The limited-edition parcel includes a Jeff Bridges photo book, a 10-years-on retrospective, and an in-depth wait at the almanac Lebowski Fest.[86] The film is also available in the Blu-ray Coen Brothers box set released in the UK, still this version is region gratis and will piece of work in any Blu-ray player.

For the movie'southward 20th Ceremony, Universal Pictures released a 4K Ultra Hd Blu-ray version of the film, which was released on October 16, 2018.[87]

See also [edit]

  • List of films that nearly frequently use the give-and-take "fuck"
  • List of films featuring fictional films
  • List of films featuring miniature people

Notes [edit]

  1. ^ Roderick Jaynes is the shared pseudonym used by the Coen brothers for their editing.

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Bibliography [edit]

  • Agostinelli, Alessandro, United nations mondo perfetto. I comandamenti dei fratelli Coen (2010–2013, Controluce Printing), ISBN 978-8862800129.
  • Bergan, Ronald, The Coen Brothers (2000, Thunder'due south Rima oris Press), ISBN 1-56025-254-five.
  • Coen, Ethan and Joel Coen, The Big Lebowski;(May 1998, Faber and Faber Ltd.), ISBN 0-571-19335-8.
  • Green, Bill, Ben Peskoe, Scott Shuffitt, Will Russell; I'yard a Lebowski, Yous're a Lebowski: Life, The Big Lebowski, and What Have You (Bloomsbury USA – August 21, 2007), ISBN 978-one-59691-246-5.
  • Levine, Josh, The Coen Brothers: The Story of Ii American Filmmakers, (2000, ECW Printing), ISBN 1-55022-424-vii.
  • Robertson, William Preston, Tricia Cooke, John Todd Anderson and Rafael Sanudo, The Big Lebowski: The Making of a Coen Brothers Film (1998, W.Due west. Norton & Company), ISBN 0-393-31750-1.
  • Tyree, J. One thousand., Ben Walters The Big Lebowski (BFI Flick Classics, 2007, British Picture show Plant), ISBN 978-i-84457-173-4.
  • The Large Lebowski in Feminist Film Theory

External links [edit]

  • The Big Lebowski essay by J.M. Tyree & Ben Walters at National Motion-picture show Registry [1]
  • "The Big Lebowski" Official Trailer
  • The Large Lebowski at IMDb
  • The Big Lebowski at AllMovie
  • "Is The Big Lebowski a cultural milestone?", BBC, Oct 10, 2008
  • "Dissertations on His Dudeness", Dwight Garner, The New York Times, December 29, 2009
  • Comentale, Edward P. and Aaron Jaffe, eds. The Twelvemonth'south Work in Lebowski Studies. Bloomington: 2009.
  • "Charade and detection: The Trickster Archetype in the pic, The Big Lebowski, and its cult following" in Trickster's Way

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