Evelyn Barge
Assistant A&E Editor
The Coen brothers’ latest film “The Ladykillers” will be released on DVD Sept. 14, but this remake of the 1955 classic with the same name isn’t worth rushing to Blockbuster.
True comic geniuses Joel and Ethan Coen have produced some of the funniest movies of all time, but they can’t seem to recover since they released their lackluster romantic comedy “Intolerable Cruelty.”
“The Ladykillers” has only extended the Coens’ movie-making slump.
Their normal approach to filmmaking, and the one they have the most talent for, is dark comedy. “The Ladykillers” feels more like a slapstick comedy with jokes inspired by middle school bathroom humor and racial typecasting.
Tom Hanks plays the lead role as Professor Goldthwait Higginson Dorr, a well-spoken, well-educated criminal. Hanks’ character is creepily charming and he worms his way into the home of Mrs. Marva Munson, played by Irma P. Hall, an old southern lady who proves to be an unexpected challenge for Dorr.
Dorr’s intention is to tunnel his way from Munson’s home into a local riverboat casino cash vault. He enlists a crew of unlikely crooks as his partners in crime, but Munson’s stubbornness and prying eyes present a number of obstacles to Dorr’s perfect plan.
Already, the basic plot line sounds dreadfully predictable. Still, it would be a mistake to put it past the Coen brothers to transform something so mundane and ordinary into their own comedic microcosm. They’ve demonstrated their capabilities in such critically acclaimed films as “O Brother, Where Art Thou” and “The Man Who Wasn’t There.”
For some reason, the Coens forgot to incorporate their senses of subtlety and satire into “The Ladykillers,” and what we’re left with is a bland and shallow comedy that retells the same joke over and over again.
Even the main band of delinquents leaves much to be desired in the way of depth and personality.
Actor J.K. Simmons plays an uptight former hippie with irritable bowel syndrome. The opportunities for gags related to his unfortunate condition are many, but always expected.
Tzi Ma plays a chain smoker nicknamed the General. This character speaks very little English, has a hidden violent streak and possesses excellent martial arts skills.
Ryan Hurst plays Lump Hudson, an unfathomably dumb jock whose name reveals everything there is to know about this character. Hudson is a football player who operates throughout the movie in a near-vegetative state of existence.
Marlon Wayans brings extra star power to the film and rounds out the racial caricatures that “The Ladykillers” stubbornly upholds. Wayans’ character is a janitor at the riverboat casino and his foul language matches his would-be gangster attitude.
The Coens are obviously trying to poke fun at these stereotypes, but they repeatedly use them to get cheap laughs. In doing this, the filmmakers gain little in the way of true comedy and sacrifice their ability to satirize and explore the characters.
Hanks’ performance is also a letdown. It’s admirable that he challenged himself to return to comedy and temporarily leaves behind the “serious actor” roles. Despite his comedic background, though, Hanks does a poor job of portraying what could be a very powerful character.
Hanks’ rendering of Dorr is melodramatic and cheesy. The overwhelming oddity of his character is distracting. Maybe he’s trying to prove that he still has a knack for comedy, but if you want to see Hanks at his best try watching “The Money Pit” or an episode of “Bosom Buddies” instead.
The film lacks characterization because it relies on performances that have no depth.
The only redeeming facet of “The Ladykillers” is a remarkable performance by Hall, even though her character is also like a cartoon version of real life. The audience can both cheer for and laugh at her little old lady temperament. Her traditional attitude and church-going nature is the unlikely hindrance to the aspiring robbers and the most refreshing part of the film.
Besides Hall, lifeless characters and an uninspiring plot spoil the movie.
It seems the filmmakers simply gave up trying to salvage this wreckage of their talent. If this is not the case, “The Ladykillers” and “Intolerable Cruelty” may represent a new era of over-commercialized and over-stylized Coen brothers filmmaking.
When will the Coens realize that their talent is being squandered on mediocre comedies? Joel and Ethan Coen are anything but average at heart, and moviegoers desperately need a return to their classic blend of film noir and dark comedy.
Until then, if you’re going to buy or rent “The Ladykillers,” make sure its the 1955 original.
09-09-2004
