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1998 film by Joel and Ethan Coen

The Big Lebowski
Biglebowskiposter.jpg

Theatrical release poster
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 by
  • Roderick Jaynes[a]
  • Tricia Cooke
Music by Carter Burwell

Production
visitor

Working Title Films
Distributed by
  • Gramercy Pictures (United States)
  • PolyGram Filmed Entertainment (International)

Release dates
  • January 18, 1998 (1998-01-eighteen) (Sundance)
  • March 6, 1998 (1998-03-06) (U.South.)
  • April 24, 1998 (1998-04-24) (U.K.)

Running time

 117 minutes
Countries
  • United States[ane] [ii]
  • United Kingdom[two] [three]
Linguistic communication English
Budget $fifteen million
Box office $46.7 million[4]

The Big Lebowski () is a 1998 black one-act crime film written, produced, and directed by Joel and Ethan Coen. Information technology stars Jeff Bridges every bit Jeffrey "The Dude" Lebowski, a Los Angeles slacker and avid bowler. He is assaulted as a result of mistaken identity, then learns that a millionaire also 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 ransom to secure her release; the programme 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 besides announced, in supporting roles.

The film is loosely inspired past the work of Raymond Chandler. Joel Coen stated, "We wanted to practice a Chandler kind of story – how it moves episodically, and deals with the characters trying to unravel a mystery, also as having a hopelessly complex plot that's ultimately unimportant."[5] The original score was composed past Carter Burwell, a longtime collaborator of the Coen brothers.

The Large Lebowski received mixed reviews at the time of its release. Over time, reviews take become largely positive, and the film has become a cult favorite,[six] noted for its eccentric characters, comedic dream sequences, idiosyncratic dialogue, and eclectic soundtrack.[seven] In 2014, the pic was selected for preservation in the Usa National Film Registry by the Library of Congress, being deemed "culturally, historically, or aesthetically significant". A spin-off, titled The Jesus Rolls, was released in 2020, with Turturro reprising his role and also serving equally writer and director.[viii] [9] [10]

Plot [edit]

In the early on 1990s, Los Angeles slacker Jeffrey "The Dude" Lebowski is assaulted in his home by two enforcers for porn kingpin Jackie Treehorn, who is owed coin by the wife of a dissimilar Jeffrey Lebowski. 1 of the goons urinates on the Dude'due south favorite carpet before they realize they have the wrong human being and exit.

Advised past his bowling partners, Vietnam veteran Walter Sobchak and Donny Kerabatsos, the Dude visits wealthy philanthropist Jeffrey ("Big") Lebowski, demanding compensation for the rug. Big refuses, merely the Dude tricks Big's banana Brandt into letting him take a similar rug from the mansion. Outside he meets Bunny, Big's trophy wife, and her German nihilist friend Uli. Soon after this, Bunny is apparently kidnapped and Big hires The Dude to deliver the requested bribe money, one meg dollars. That nighttime, a different pair of thugs accost the Dude, taking his replacement carpet on behalf of Large's daughter from his prior matrimony Maude, who has a sentimental attachment to it.

The kidnappers suit to collect the bribe. Convinced that Bunny "kidnapped herself", Walter concocts a scheme to proceed the ransom money by substituting it with a briefcase full of his muddy laundry. Although things do not go entirely co-ordinate to Walter's programme, the kidnappers go out with Walter'due south laundry, and Walter and The Dude return to the bowling aisle, leaving the ransom coin in the body of his machine. While the bowlers bowl, the car is stolen from the parking lot.

Revealing Bunny is one of Treehorn'due south actresses and lovers, Maude agrees that Bunny staged her own abduction and asks for the Dude's help to recover the coin, which her father illegally withdrew from the family's foundation. Later on, the Dude is separately confronted for his failure to deliver the ransom by both Big and a trio of German nihilists who identify themselves equally the kidnappers. Maude is able to ostend that the Germans are Bunny's friends.

The Dude's car, minus the briefcase, is recovered by police force. Driving home 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's dwelling house, interrogating him about the missing briefcase. When he is unresponsive, Walter bashes a new sports automobile parked outside, thinking the teen had used the coin to buy it. The car's actual owner, a neighbor, appears and retaliates by bashing the Dude's machine, mistaking it for Walter's.

The Dude returns dwelling house, where he finds Maude wearing only a robe. They have sex activity, and Maude tells the Dude that her father has no money of his own; the family fortune belonged to her late female parent who left him none, the final piece of data which The Dude needs to piece of work out the entire scheme: after Bunny left town, her nihilist friends faked her kidnapping to extort money from her husband. Large 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 telephone books instead.

In a concluding confrontation outside of the bowling alley, the nihilists set the Dude'due south car on fire, and need the ransom money. Walter violently fends them off, but during the scuffle, Donny dies from a center attack. Before scattering Donny's ashes from a cliff overlooking the Pacific Ocean, Walter delivers a eulogy that turns into a diatribe about 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 get bowling.

Cast [edit]

  • Jeff Bridges every bit Jeffrey "The Dude" Lebowski
  • John Goodman equally Walter Sobchak
  • Julianne Moore as Maude Lebowski
  • Steve Buscemi every bit 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 equally The Stranger
  • David Thewlis equally Knox Harrington
  • Ben Gazzara as Jackie Treehorn
  • Peter Stormare, Torsten Voges, and Flea every bit Uli Kunkel/Karl Hungus, Franz, and Kieffer, the nihilists
  • Jon Polito as Da Fino
  • Philip Moon and Marker Pellegrino as Treehorn'due south thugs
  • Jimmie Dale Gilmore as Smokey
  • Jack Kehler every bit Marty, The Dude's landlord
  • Dom Irrera every bit Tony, the chauffeur
  • Harry Bugin as Arthur Digby Sellers
  • Jesse Flanagan as Larry Sellers
  • Leon Russom as the Malibu Police Chief
  • Warren Keith as Francis Donnelly, funeral director
  • Marshall Manesh as Doctor
  • Asia Carrera equally Sherry, porn extra[eleven]
  • Aimee Isle of mann as Franz'southward girlfriend
  • Richard Gant and Christian Clemenson as cops

Production [edit]

Evolution [edit]

The Dude is mostly inspired by Jeff Dowd, an American flick producer and political activist the Coen brothers met while they were trying to notice distribution for their first characteristic, Blood Simple.[12] : 90 [13] 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 besides partly based on a friend of the Coen brothers, Peter Exline (now a member of the faculty at USC'due south School of Cinematic Arts), a Vietnam War veteran who reportedly lived in a dump of an apartment and was proud of a little rug that "tied the room together".[14] : 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 Claret Unproblematic.[12] : 97–98 Exline became friends with the Coens and in 1989, told them all kinds of stories from his ain life, including ones near his actor-writer friend Lewis Abernathy (one of the inspirations for Walter), a swain Vietnam vet who later became a private investigator and helped him track down and face a high school kid who stole his car.[12] : 99 As in the motion picture, Exline's car was impounded by the Los Angeles Police Section and Abernathy plant an 8th grader'southward homework under the passenger seat.[12] : 100

Exline also belonged to an amateur softball league just the Coens changed it to bowling in the moving picture, because "it's a very social sport where yous can sit around and beverage and smoke 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 war machine into the character of Walter.[xiv] : 189 John Milius introduced the Coen Brothers to one of his best friends, Jim Ganzer, who would have been another source of inferences to create Jeff Bridges' character.[15] Besides known equally the Dude,[xvi] Ganzer and his gang, typical Malibu surfers, served as inspiration as well for Milius's picture show Large Wednesday.[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 break from acting at the time), Norman Mailer, George C. Scott, Jerry Falwell, Gore Vidal, Andy Griffith, William F. Buckley, and Ernest Borgnine. The Coens' pinnacle choice was Marlon Brando, but he was unable to star in the motion-picture show due to health issues.[eighteen] Charlize Theron was considered for the function of Bunny Lebowski.[xix]

Co-ordinate to Julianne Moore, the character of Maude was based on artist Carolee Schneemann, "who worked naked from a swing", and on Yoko Ono.[20] : 156 The character of Jesus Quintana, an opponent of The Dude's bowling team, was inspired in part by a performance the Coens had seen John Turturro give in 1988 at the Public Theater in a play called Mi Puta Vida in which he played a pederast-type grapheme, "so we thought, let's make Turturro a pederast. It'll be something he tin really run with," Joel said in an interview.[14] : 195

The film's 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'due south why it had to exist set in Los Angeles ... We wanted to take a narrative flow, a story that moves like a Chandler volume through dissimilar parts of boondocks and different social classes."[21] The use of the Stranger's vocalization-over also came from Chandler as Joel remarked, "He is a piffling bit of an audition substitute. In the movie adaptation of Chandler it's the primary character that speaks off-screen, but nosotros didn't want to reproduce that though it plainly has echoes. It's as if someone was commenting on the plot from an all-seeing point of view. And at the aforementioned time rediscovering the erstwhile earthiness of a Mark Twain."[20] : 169

The significance of the bowling culture was, according to Joel, "important in reflecting that period at the end of the fifties and the kickoff of the sixties. That suited the retro side of the movie, slightly anachronistic, which sent us dorsum to a not-then-far-away era, simply one that was well and truly gone nevertheless."[20] : 170

Screenplay [edit]

The Coen Brothers wrote The Big Lebowski effectually the same time every bit Barton Fink. When the Coen brothers wanted to make information technology, John Goodman was filming episodes for Roseanne and Jeff Bridges was making the Walter Hill film Wild Bill. The Coens decided to brand Fargo in the meantime.[xiv] : 189 According to Ethan, "the picture show was conceived as pivoting around that relationship between the Dude and Walter", which sprang from the scenes between Barton Fink and Charlie Meadows in Barton Fink.[twenty] : 169 They too came upwardly with the idea of setting the flick in contemporary L.A., because the people who inspired the story lived in the 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 author's fiction into their script. Joel Coen cites Robert Altman's The Long Adieu as a primary influence on their film, 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 simply xl pages and then permit information technology sit for a while before finishing it. This is a normal writing process for them, considering they often "encounter a problem at a certain stage, nosotros pass to another projection, so we come up back to the showtime script. That manner we've already accumulated pieces for several future movies."[20] : 171 In order to liven upward a scene that they thought was too heavy on exposition, they added an "effete art-world hanger-on", known every bit Knox Harrington, late in the screenwriting process.[23] In the original script, the Dude'south car was a Chrysler LeBaron, equally Dowd had in one case owned, but that automobile was not big enough to fit John Goodman so the Coens inverse it to a Ford Torino.[12] : 93

Pre-product [edit]

PolyGram and Working Title Films, which had funded Fargo, backed The Big Lebowski with a budget of $xv meg. In casting the motion-picture show, Joel remarked, "we tend to write both for people we know and have worked with, and some parts without knowing who's going to play the part. In The Big Lebowski we did write for John [Goodman] and Steve [Buscemi], but nosotros didn't know who was getting the Jeff Bridges role."[24] Mel Gibson was originally considered for the role of The Dude, merely he didn't take the pitch besides 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 similar that and did drugs, although I think I was a trivial more artistic than the Dude."[14] : 188 The role player went into his own closet with the moving-picture show's wardrobe person and picked out clothes that he had idea the Dude might wear.[12] : 27 He wore his character's wearing apparel dwelling because nigh of them were his own.[26] The player also adopted the same physicality every bit Dowd, including the slouching and his ample abdomen.[12] : 93 Originally, Goodman wanted a unlike kind of bristles for Walter but the Coen brothers insisted on the "Gladiator" or what they called the "Chin Strap" and he idea it would become well with his flattop haircut.[12] : 32

For the film's expect, the Coens wanted to avoid the usual retro 1960s clichés like lava lamps, Twenty-four hours-Glo posters, and Grateful Dead music[22] : 95 and for it to be "consistent with the whole bowling affair, we wanted to keep the pic pretty brilliant and poppy", Joel said in an interview.[14] : 191 For case, the star motif, featured predominantly throughout the film, started with the film'south production designer Richard Heinrichs' design for the bowling alley. According to Joel, he "came up with the idea of simply laying gratuitous-form neon stars on top of it and doing a like gratis-form star thing on the interior". This carried over to the film's dream sequences. "Both dream sequences involve star patterns and are about lines radiating to a indicate. In the first dream sequence, the Dude gets knocked out and you see stars and they all coalesce into the overhead nightscape of L.A. The 2d dream sequence is an astral environment with a backdrop of stars", remembers Heinrichs.[14] : 191 For Jackie Treehorn's Malibu beach house, he was inspired by tardily 1950s and early 1960s bachelor pad piece of 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 young, oiled-down, fairly aggressive men walk around with appetizers and drinks. So there's a very sacrificial quality to it."[22] : 91

Cinematographer Roger Deakins discussed the look of the motion-picture show with the Coens during pre-production. They told him that they wanted some parts of the film to take a existent and contemporary feeling and other parts, like the dream sequences, to take a very stylized await.[22] : 77 Pecker and Jacqui Landrum did all of the choreography for the moving-picture show. For his trip the light fantastic sequence, Jack Kehler went through three three-hour rehearsals.[12] : 27 The Coen brothers offered him 3 to four choices of classical music for him to choice from and he chose Minor Mussorgsky's Pictures at an Exhibition. At each rehearsal, he went through each phase of the piece.[12] : 64

Principal photography [edit]

Actual filming took place over an 11-week period with location shooting in and around Los Angeles, including all of the bowling sequences at the Hollywood Star Lanes (for three weeks)[27] and the Dude's Busby Berkeley dream sequences in a converted airplane hangar.[21] According to Joel, the only time they ever directed Bridges "was when he would come over at the kickoff of each scene and ask, 'Do you think the Dude burned 1 on the way over?' I'd reply 'Yes' usually, then Jeff would go over in the corner and kickoff rubbing his eyes to get them bittersweet."[xiv] : 195 Julianne Moore was sent the script while working on The Lost Globe: Jurassic Park. She worked only two weeks on the film, early and late during the production that went from January to April 1997[28] while Sam Elliott was only on ready for two days and did many takes of his final speech communication.[12] : 46

The scenes in Jackie Treehorn's house were shot in the Sheats-Goldstein Residence, designed by 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 order to afford greater depth of focus. Even so, with the Dude's apartment, Deakins said, "it's kind of seedy and the calorie-free'southward pretty nasty" with a grittier look. The visual bridge between these two different looks was how he photographed the nighttime scenes. Instead of adopting the usual blue moonlight or blue street lamp look, he used an orangish sodium-calorie-free effect.[22] : 79 The Coen brothers shot much of the flick with broad-angle lens because, according to Joel, it made it easier to hold focus for a greater depth and it made photographic camera movements more dynamic.[22] : 82

To achieve the point-of-view of a rolling bowling brawl the Coen brothers mounted a camera "on something like a charcoal-broil spit", according to Ethan, and so dollied it along the lane. The challenge for them was figuring out the relative speeds of the frontwards move and the rotating motion. CGI was used to create the vantage signal of the thumb hole in the bowling ball.[28]

Soundtrack [edit]

The Big Lebowski: Original Motility Pic Soundtrack
Soundtrack anthology past

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 picture soundtracks chronology
Fargo
(1996) 		The Big Lebowski: Original Motion Moving picture Soundtrack
(1998) 		O Brother, Where Fine art Thou?
(2000)

The original score was composed past Carter Burwell, a veteran of all the Coen Brothers' films. While the Coens were writing the screenplay they had Kenny Rogers' "Only Dropped In (to See What Condition My Status Was in)", the Gipsy Kings' cover of "Hotel California", and several Creedence Clearwater Revival songs in listen.[30] They asked T-Bone Burnett (who would subsequently work with the Coens on O Brother, Where Art K? and Within Llewyn Davis) to pick songs for the soundtrack of the film. They knew that they wanted different genres of music from different times just, as Joel remembers, "T-Os even came upward with some far-out Henry Mancini and Yma Sumac."[31] Burnett was able to secure songs by Kenny Rogers and the Gipsy Kings and besides added tracks by Captain Beefheart, Moondog and Bob Dylan'southward "The Man in Me".[30] However, he had a tough fourth dimension securing the rights to Townes Van Zandt's comprehend of the Rolling Stones' "Dead Flowers", which plays over the flick's closing credits. Quondam Stones manager Allen Klein owned the rights to the song and wanted $150,000 for it. Burnett convinced Klein to spotter an early on cut of the flick 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, you can have the song!' That was beautiful."[xxx] [32] Burnett was going to be credited on the film as "Music Supervisor", simply asked his credit to exist "Music Archivist" because he "hated the notion of being a supervisor; I wouldn't want anyone to remember of me as management".[31]

For Joel, "the original music, as with other elements of the pic, had to repeat the retro sounds of the Sixties and early Seventies".[20] : 156 Music defines each character. For example, "Tumbling Tumbleweeds" past Bob Nolan was called for the Stranger at the time the Coens wrote the screenplay, equally was "Lujon" by Henry Mancini for Jackie Treehorn. "The German language nihilists are accompanied by techno-pop and Jeff Bridges by Creedence. So in that location'south a musical signature for each of them", remarked Ethan in an interview.[twenty] : 156 The graphic symbol Uli Kunkel was in the German electronic band Autobahn, an homage to the band Kraftwerk. The album comprehend of their tape Nagelbett (bed of nails) is a parody of the Kraftwerk album encompass for The Human-Machine and the group name Autobahn shares the proper noun of a Kraftwerk song and album. In the lyrics the phrase "Nosotros believe in nothing" is repeated with electronic distortion. This is a reference to Autobahn's nihilism in the picture show.[33]

No. Title Writer(due south) Performer Length
1. "The Man in Me" Bob Dylan Dylan 3:08
2. "Her Eyes Are a Blue Million Miles" Captain Beefheart Beefheart 2:54
three. "My Mood Swings" Elvis Costello and Cait O'Riordan Costello 2:10
4. "Ataypura" Moises Vivanco Yma Sumac iii:03
5. "Traffic Boom" Piero Piccioni Piccioni 3:15
half dozen. "I Got It Bad & That Own't Practiced" Duke Ellington and Paul Francis Webster Nina Simone iv:07
7. "Stamping Ground" (The rails actually includes two songs, starting with "Theme", which so leads to "Stamping Ground") Moondog Moondog five:11
8. "Just Dropped In (To See What Status My Status Was In)" Mickey Newbury Kenny Rogers & The First Edition 3:21
ix. "Walking Vocal" Meredith Monk Monk ii:55
10. "Glück das mir verblieb" (from Die tote Stadt) Erich Wolfgang Korngold Ilona Steingruber, Anton Dermota and the Austrian Country Radio Orchestra v:08
11. "Lujon" Henry Mancini Mancini 2:38
12. "Hotel California" Don Henley, Glenn Frey and Don Felder The Gipsy Kings 5:47
13. "Technopop" (Wie Glauben) Carter Burwell Burwell three:21
14. "Dead Flowers" Mick Jagger and Keith Richards Townes Van Zandt 4:47
Total length: 51:45
Other music used (not on soundtrack anthology)
No. Title Writer(due south) Performer Length
1. "Tumbling Tumbleweeds" Bob Nolan Sons of the Pioneers
two. "Mucha Muchacha" Juan García Esquivel Esquivel
3. "I Hate You" Gary Burger, David Havlicek, Roger Johnston, Thomas East. 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
half dozen. "Behave Yourself" Booker T. Jones, Steve Cropper, Al Jackson, Jr. and Lewie Steinberg Booker T. & the MG's
7. "Standing on the Corner" Frank Loesser Dean Martin
8. "Tammy" Jay Livingston and Ray Evans Debbie Reynolds
ix. "We Venerate Thy Cantankerous" traditional The Rustavi Choir
x. "Lookin' Out My Back Door" John Fogerty Creedence Clearwater Revival
11. "Gnomus" (from Pictures at an Exhibition) Small Mussorgsky, bundled for orchestra by Maurice Ravel.
12. "Oye Como Va" Tito Puente Santana
13. "Piacere Sequence" Teo Usuelli Usuelli
xiv. "Branded Theme Song" Alan Alch and Dominic Frontiere
xv. "Peaceful Easy Feeling" Jack Tempchin Eagles
xvi. "Viva Las Vegas" Medico Pomus and Mort Shuman ZZ Height (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 Film Festival on January 18, 1998, at the 1,300-capacity Eccles Theater. Information technology was also screened at the 48th Berlin International Film Festival[34] [35] before opening in North America on March 6, 1998, in 1,207 theaters. It grossed $5.5 one thousand thousand on its opening weekend, finishing up with a gross of $18 1000000 in the Usa, merely above its United states of america$fifteen million budget. The film's worldwide gross exterior of the Usa was $28.7 million, bringing its worldwide gross to $46.7 meg.[4]

Critical response [edit]

On review aggregator Rotten Tomatoes, the flick holds an approving rating of 83% based on 109 reviews, with an boilerplate score of 7.five/10. The website's critics consensus reads, "Typically stunning visuals and sharp dialogue from the Coen Brothers, brought to life with strong performances from Goodman and Bridges."[36] Metacritic, which uses a weighted average, has assigned the motion-picture show a score of 71 out of 100 based on reviews from 23 critics, indicating "generally favorable reviews."[37] Audiences polled by CinemaScore gave the motion picture an average grade of "B" on an A+ to F calibration.[38]

Many critics and audiences take likened the pic to a modern Western, while many others dispute this, or liken it to a criminal offense novel that revolves around mistaken identity plot devices.[39] Peter Howell, in his review for the Toronto Star, wrote: "It's hard to believe that this is the work of a team that won an Oscar last twelvemonth for the original screenplay of Fargo. At that place's a big amount of profanity in the pic, which seems a weak attempt to newspaper over dialogue gaps."[40] Howell revised his opinion in a later review, and in 2011 stated that "it may merely exist my favourite Coen Bros. film."[41]

Todd McCarthy in Variety magazine wrote: "Ane of the motion picture's indisputable triumphs is its soundtrack, which mixes Carter Burwell's original score with classic popular tunes and some fabled covers."[42] U.s.a. Today gave the film three out of four stars and felt that the Dude was "too passive a hero to sustain interest," only that at that place was "plenty startling luminescence here to propose that, just like the Dude, those smarty-pants Coens will abide."[43]

In his review for The Washington Mail service, Desson Howe praised the Coens and "their inspired, absurdist taste for weird, peculiar Americana – but a sort of neo-Americana that is entirely invented – the Coens have defined and mastered their own baroque subgenre. No one does information technology similar them and, it well-nigh goes without saying, no one does it better."[44]

Janet Maslin praised Bridges' performance in her review for The New York Times: "Mr. Bridges finds a role then 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-dejeuner graphic symbol played with fine comic flair."[45] Andrew Sarris, in his review for the New York Observer, wrote: "The outcome is a lot of laughs and a feeling of awe toward the craftsmanship involved. I doubt that there'll be anything else like it the remainder of this year."[46] In a five star review for Empire Mag, Ian Nathan wrote: "For those who please in the Coens' divinely abstract take on reality, this is pure nirvana" and "in a perfect world all movies would exist made by the Coen brothers."[47] Roger Ebert of the Chicago Sunday-Times gave the film three stars out of 4, describing it as "weirdly engaging."[48] In a 2010 review, he raised his original score to four stars out of four and added the motion picture to his "Great Movies" list.[49]

However, Jonathan Rosenbaum wrote in the Chicago Reader: "To be sure, The Big Lebowski is packed with prove-offy filmmaking and as a result is pretty entertaining. Just insofar as it represents a moral position—and the Coens' relative styling of their figures invariably does—it'due south an elitist one, elevating salt-of-the-earth types similar Bridges and Goodman ... over everyone else in the picture show."[l] Dave Kehr, in his review for the Daily News, criticized the film's premise every bit a "tired idea, and it produces an episodic, unstrung film."[51] The Guardian criticized the motion picture equally "a agglomeration of ideas shoveled into a bag and allowed to spill out at random. The film is infuriating, and volition win no prizes. Simply it does accept some terrific jokes."[52]

Legacy [edit]

Since its original release, The Big Lebowski has become a cult classic.[7] Ardent fans of the motion-picture show call themselves "achievers".[53] [54] Steve Palopoli wrote about the movie'due south emerging cult condition in July 2002.[55] He first realized that the moving picture had a cult following when he attended a midnight screening in 2000 at the New Beverly Picture palace in Los Angeles and witnessed people quoting dialogue from the film to each other.[12] : 129 Soon after the commodity appeared, the developer for a local midnight film series in Santa Cruz decided to screen The Big Lebowski and on the outset weekend they had to turn away several hundred people. The theater held the film over for half-dozen weeks, which had never happened before.[12] : 130

An annual festival, Lebowski Fest, began in Louisville, Kentucky, United States in 2002 with 150 fans showing up, and has since expanded to several other cities.[56] The festival's chief event each year is a nighttime 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 night before the bowling event as well equally a twenty-four hours-long outdoor party with bands, vendor booths and games. Various celebrities from the movie have even attended some of the events, including Jeff Bridges who attended the Los Angeles event.[56] The British equivalent, inspired by Lebowski Fest, is known equally The Dude Abides and is held in London.[57]

Dudeism, a religion devoted largely to spreading the philosophy and lifestyle of the film'southward main grapheme, was founded in 2005. Too known equally The Church of the Latter-Twenty-four hour period Dude, the system has ordained over 220,000 "Dudeist Priests" all over the world via its website.[58]

Ii species of African spider are named after the film and master character: Anelosimus biglebowski and Anelosimus dude, both described in 2006.[59] Additionally, an extinct Permian conifer genus is named afterward the motion picture in honor of its creators. The showtime species described within this genus in 2007 is based on 270-million-year-former found fossils from Texas, and is chosen Lebowskia grandifolia.[60]

Entertainment Weekly ranked it eighth on their Funniest Movies of the Past 25 Years list.[61] The movie was also ranked No. 34 on their list of "The Acme 50 Cult Films"[62] and ranked No. 15 on the magazine's "The Cult 25: The Essential Left-Field Picture show Hits Since '83" listing.[63] In addition, the magazine as well ranked The Dude No. 14 in their "The 100 Greatest Characters of the Terminal 20 Years" poll.[64] The film was also nominated for the prestigious Grand Prix of the Belgian Movie Critics Association.[65] The Large Lebowski was voted as the 10th all-time film set in Los Angeles in the last 25 years by a group of Los Angeles Times writers and editors with two criteria: "The film had to communicate some inherent truth about the L.A. feel, and only 1 picture per director was allowed on the list."[66] Empire magazine ranked Walter Sobchak No. 49 and the Dude No. 7 in their "The 100 Greatest Movie Characters" poll.[67] Roger Ebert added The Large Lebowski to his listing of "Great Movies" in March 2010.[49]

Spin-off [edit]

The Coen brothers take stated that they will never make a sequel to The Big Lebowski.[68] Nevertheless, John Turturro expressed interest in reprising his role as Jesus Quintana,[69] and in 2014, he appear that he had requested permission to use the graphic symbol.[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. Information technology was released in 2020.[71] The Coen brothers, although having granted Turturro the right to apply the grapheme, were not involved, and no other character from The Big Lebowski was featured in the moving picture.[72]

Stella Artois commercial [edit]

On Jan 24, 2019, Jeff Bridges posted a five-second clip on Twitter with the statement: "Can't be living in the past, man. Stay tuned" and showing Bridges equally the Dude, walking through a room equally a tumbleweed rolls past.[73] The prune was a teaser trailer for an ad during Super Bowl LIII which featured Bridges reprising the role of The Dude for a Stella Artois commercial.[74] [75]

Utilize equally social and political analysis [edit]

The film has been used equally a tool for analysis on a number of issues. In September 2008, Slate published an article that interpreted The Big Lebowski every bit a political critique. The eye piece of this viewpoint was that Walter Sobchak is "a neocon," citing the film's references to so President George H. Due west. Bush and the offset Gulf War.[76]

A journal article past Brian Wall, published in the feminist journal Camera Obscura, uses the movie to explicate Karl Marx'south article fetishism and the feminist consequences of sexual fetishism.[77]

In That Carpeting Really Tied the Room Together, start 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]

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

Dwelling house media [edit]

Universal Studios Habitation Amusement released a "Collector'due south Edition" DVD on October 18, 2005, with extra features that included an "introduction by Mortimer Young", "Jeff Bridges' Photography", "Making of The Big Lebowski", and "Production Notes". In addition, a express-edition "Achiever'due south Edition Gift Set" also included The Large Lebowski Bowling Shammy Towel, four Collectible Coasters that included photographs and quotable lines from the picture, and eight Sectional Photo Cards from Jeff Bridges' personal collection.[84]

A "10th Anniversary Edition" was released on September 9, 2008, and features all of the extras from the "Collector'south Edition" and "The Dude's Life: Strikes and Gutters ... Ups and Downs ... The Dude Abides" theatrical trailer (from the showtime DVD release), "The Lebowski Fest: An Achiever's Story", "Flight Carpets and Bowling Pin Dreams: The Dream Sequences of the Dude", "Interactive Map", "Jeff Bridges Photo Volume", 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 loftier-definition version of The Big Lebowski was released by Universal on HD DVD format on June 26, 2007. The motion picture was released in Blu-ray format in Italy by Cecchi Gori.

On Baronial 16, 2011, Universal Pictures released The Big Lebowski on Blu-ray. The limited-edition package includes a Jeff Bridges photo book, a ten-years-on retrospective, and an in-depth expect at the annual Lebowski Fest.[86] The film is also available in the Blu-ray Coen Brothers box set up released in the United kingdom, still this version is region gratis and volition work in whatsoever Blu-ray player.

For the film'due south 20th Anniversary, Universal Pictures released a 4K Ultra HD Blu-ray version of the film, which was released on Oct sixteen, 2018.[87]

See also [edit]

  • List of films that most often use the word "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, Un mondo perfetto. I comandamenti dei fratelli Coen (2010–2013, Controluce Press), ISBN 978-8862800129.
  • Bergan, Ronald, The Coen Brothers (2000, Thunder's Rima oris Press), ISBN 1-56025-254-v.
  • Coen, Ethan and Joel Coen, The Big Lebowski;(May 1998, Faber and Faber Ltd.), ISBN 0-571-19335-8.
  • Green, Beak, Ben Peskoe, Scott Shuffitt, Will Russell; I'chiliad a Lebowski, You're a Lebowski: Life, The Big Lebowski, and What Take Y'all (Bloomsbury Us – August 21, 2007), ISBN 978-1-59691-246-5.
  • Levine, Josh, The Coen Brothers: The Story of 2 American Filmmakers, (2000, ECW Press), ISBN i-55022-424-7.
  • Robertson, William Preston, Tricia Cooke, John Todd Anderson and Rafael Sanudo, The Big Lebowski: The Making of a Coen Brothers Moving-picture show (1998, Due west.Westward. Norton & Company), ISBN 0-393-31750-i.
  • Tyree, J. M., Ben Walters The Big Lebowski (BFI Film Classics, 2007, British Film Institute), ISBN 978-1-84457-173-4.
  • The Large Lebowski in Feminist Moving-picture show Theory

External links [edit]

  • The Large Lebowski essay past J.M. Tyree & Ben Walters at National Film Registry [one]
  • "The Big Lebowski" Official Trailer
  • The Big Lebowski at IMDb
  • The Big Lebowski at AllMovie
  • "Is The Large Lebowski a cultural milestone?", BBC, October 10, 2008
  • "Dissertations on His Dudeness", Dwight Garner, The New York Times, December 29, 2009
  • Comentale, Edward P. and Aaron Jaffe, eds. The Year's Work in Lebowski Studies. Bloomington: 2009.
  • "Deception and detection: The Trickster Archetype in the film, The Big Lebowski, and its cult following" in Trickster's Way

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