Arguably the Coen Brother's funniest work, with a superb lead in Bridges

Rating: 10/10 (9 September 2004)

The Big Lebowski, whether you laugh during the film or not, is assuredly one of the most laid-back of the nineties. I don't mean that by saying that its main fan-base are slackers or hippies or other, but that the whole tone of the film has that air to it. The plot the Coens construct, which is as wonderfully convoluted as a 40's mystery tale (the kinds of stories they get inspired by- The Big Sleep was most likely their title goof), almost gets in the way of the main character and his friends' lives. "The Dude" Jeff Lebowski (Jeff Bridges) has a good, if devoid of "meaning", life- he bowls constantly with his crazed, Vietnam-vet friend Walter (John Goodman, also very note-worthy) and quiet friend Donny (Steve Buscemi, a fine performance based mostly on reactions), with the occasional setback or weirdo to confront him (i.e. John Turturro's Jesus, a highlight in the film's most absurd moments). Enter in a group of deranged ex-musicians turned nihilists (which include the likes of Peter Stormare and Flea), a pornographer, and a rich man with the same name as Lebowski and his family, and the Dude's cycle is turned upside down, though not knocking into his chemical intake.
On top of The Big Lebowski, at the core, one of the most odd, off-the-wall, and creative of the Coens' scripts, with a interesting story and dialog as real as it is sometimes insane, the casting is near perfect, if not so already. It's been said by the Coens that they write some of the parts specifically for the actors, and it shows because it's pulled off. Aside from some usual Coen regulars that don't disappoint, Bridges, for lack of a better term, displays his versatility in taking on this role. Often his roles are of the normal-Joe or the businessman, but what the Coens see is that with the right character he can be funny, and make the people around him just as funny. Not to say there aren't serious parts in the film, where he's put into a rut of conflict by way of the plot. But by the time the audience starts to shift its mindset, another strange, surreal, and/or hallucinogenic bit is kicked in.
Throw in some unique production design, and Roger Deakins' expert eye on the scenes (will there ever be another film that captures bowling the way this film does, or at least in such scope and lack of subtlety?), and The Big Lebowski ends up as a cult classic. Not the kind of film that could really play for long in a multiplex (it made back its budget during its run, but not by much), yet one that will continue to have at least a little relevance in not just the indie crowd and Coen fans, but with the kinds of movie viewers who like to have a film on during a party or get-together. In fact, I'd say this beats films like Dazed and Confused and Mallrats as being something that can appeal to a younger (and older, depends) viewing crowd with its ridiculous set-pieces and still be a considerable artistic achievement. Look at it this way, think of the silliest, though smartest Cheech and Chong or Three Stooges film you've seen, and when filtered through a mindset that's loaded with European and film-noir influences, and you'll get The Big Lebowski. Not to mention it's one of the most quotable comedies of the 90's, and has a toe-tapping soundtrack. A+