The Big Lebowski, review with a focus on theme.

Rating: 10/10 (6 February 2011)

The Big Lebowski could be considered one of the greatest films of all time. In the film Jeffery Lebowski, or "The Dude," as he is more commonly known (Jeff Bridges) is a lazy man who enjoys bowling, smoking weed, drinking white Russians, and listening to classic rock (especially Creedence Clearwater Revival). His life does not seem to extend beyond these simple pleasures, nor does The Dude seem interested in branching out. "The Dude abides," as he says in self reference. This all changes when a couple of thugs try to shake him down for money owed by another man named Jeffery Lebowski, and one of them urinates on The Dude's rug. The Dude is convinced by his friend Walter, played by John Goodman, to go to the rich Jeffery Lebowski and ask him to replace the rug. Thus begins The Dude's story, which involves a ransom kidnapping, mystery, double-crosses, sex, and severed digits.
The theme of The Big Lebowski is difficult to define at first, but perhaps it is best summed up by the Stranger, played by quintessential cowboy Sam Elliot, who says, "Sometimes there's a man who, well, he's the man for his time and place... that's the Dude in Los Angeles." That being said, the entire film seems to be an elaboration on this statement. Although the Dude is a painfully ordinary man, he finds himself in an extraordinary situation, and the audience is given the opportunity to see how he handles himself. Every character in the film is ordinary, however. As the story progresses, the power players, the criminal masterminds, and the femme fatal are all exposed to be just ordinary people lashing out in various ways as they do what they think they have to in order to survive. Through their collective actions, however, and extraordinary situation is created. This statement on human nature and especially the social implications of Los Angeles culture during the early 90's is both fascinating and hilarious. This integration of normal people and strange circumstances are characteristic of Coen brother screenplays, and although not as dry as Fargo, there are definite similarities in theme. The main difference in The Big Lebowski is that each of the characters seem to see themselves as some romanticized Hollywood character, each is the hero in their story. The one exception to this being the Dude, who is just happy to be himself, but gets caught in everyone else's stories.
The theme is enhanced by the natural lighting techniques employed throughout the film. The bowling alley scenes are all awash in harsh fluorescent lighting, every detail and flaw of the middle-aged and mostly out of shape characters is bared for the cameras. In fact, most of the locations in the film appear to use the natural lighting, with only minor enhancements if necessary. These are all ordinary places, full of ordinary people. Along these same lines, the music for the film is wonderful. T-Bone Burnett, the musical archivist for the film chose an eclectic mix of music from Bob Dillon to Captain Beefheart, Nina Simone to Piero Piccioni, with surprises such as the Gypsy Kings covering Hotel California, and even some breathy, erotic chanting. The soundtrack is where the egos of these ordinary people can flourish, and the song for every scene is perfect considering the character of the chief protagonist/antagonist. The music allows the audience to see what each character hopes that they are projecting, despite their extremely human behavior. If this point was not obvious enough, the Nihilists (including Red Hot Chili Peppers bassist Flea) actually carry a boom-box blasting German techno when they attack the Dude and his friends. The are just ordinary people, in an extraordinary situation, acting in very human ways while projecting Hollywood egos.
Kudos goes to the Coen brothers and a fantastic cast for this incredible film.