#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – This movie follows a day in the life of Eddie Mannix (Josh Brolin), a Hollywood fixer for Capitol Pictures in the 1950s, who cleans up and solves problems for big names and stars in the industry. But when studio star Baird Whitlock (George Clooney) disappears, Mannix has to deal with more than just the fix.
Plot: When a Hollywood star mysteriously disappears in the middle of filming, the studio sends their fixer to get him back.
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There’s a scene halfway through the film when Hobie Doyle (Alden Ehrenreich), a Western B-movie star, is cast in a fancy melodrama helmed by Laurence Laurentz (Ralph Fiennes). Doyle is hopelessly out of his element, hobbling about in his new suit–the switch was the studio’s idea in an effort to broaden Doyle’s appeal, much to Laurentz’s dismay. It’s not long before the two engage in a back-and-forth, Laurentz trying to get Doyle to pronounce “Would that it ‘twere so simple”, and Doyle trying desperately to appease Laurentz. After a lengthy exchange, both are left exacerbated. Much later in the film, we catch a glimpse of the final version, where Doyle and Laurentz compromise with a much simpler: “It’s…complicated.”
Complicated is exactly what’s at the heart of this situation. Laurentz’s increasing frustration with this obvious miscast and Doyle’s confusion may serve to fuel the slapstick comedy on exhibit, yet this scene alludes to so much more. It’s the inner mechanics of Hollywood, where directors are mere technicians and actors are props, all to be assigned and managed. It’s the clashing of proud classical Hollywood traditions of entertainment and escapism with the dreaded rise of message films and sophisticated art. It’s the contradictory nature of unfettered creativity with capitalism and consumerism, where compromise–and perhaps communism–seems to be the only way out.
This is just one slice of the screwball nature that is the Coen Brothers’ latest comedy, Hail, Caesar! There’s also a kidnapped Roman soldier, Baird Whitlock (George Clooney at his dimmest and greatest), a handsome sailor (Channing Tatum) and a beautiful mermaid (Scarlett Johansson). All opportunities–that the Coens gladly take–to simultaneously demonstrate the power and influence of cinema, while mocking its sense of self-importance.
Each scene is allowed to play out, Channing Tatum and his homoerotic musical number or Scarlett Johansson’s hypnotizing aquatic acrobatics. It’s not only an homage films of the Golden Era, but a demonstration of the mechanics that make film such an appealing medium. The Coen Brothers have a firm grasp on the allure behind each piece, using the acting, staging and costumes to propel Hail, Caesar! forward. It’s a simple concept–use filmmaking techniques to advance a theme and narrative, but by prioritizing these lengthy sequences over traditional narrative pacing or dialogue, the Coen Brothers give room for these fundamental concepts to breathe and thrive.
It’s all threaded together through Josh Brolin’s character, Eddie Mannix, studio fixer. And there’s a lot that needs fixing: a pregnant star, a discontent director, communism, threat from the future–the usual. It’s a packed schedule, and the film follows suit with a similarly hectic pacing. An array of symbols, innuendos and subversions are thrown at the viewer: Capital Studios butting with Das Kapital, Mannix being offered a role at Lockheed where they tout a more stable industry– weapon-making, or Whitlock staring at the audience as he addresses God. It borders on bombastic, but there’s just too much wit, and heart, here to discredit any of the ideas presented–fleshed out or not.
Hail, Caesar! doesn’t break new ground in the increasingly crowded sub-genre of Hollywood-on-Hollywood, but it hits a Goldilocks concoction between inside baseball cynicism and endearing love letter. Though all these antics, the Coen Brothers argue, quite convincingly, that everything in film matters, while also making a case for the futility and hollowness of anything produced on the grounds of Hollywood. So is this a nihilistic shrug at our attempt at defining and contextualizing or a fierce exhibition of the inherent power of Hollywood where life imitates art? Well, as Doyle would try to tell you, “Would that it ‘twere so simple.”
I am a fan of the Cohen Brothers, but I will not lay laurels at the feet of a movie simply because it bears their name. _Hail, Caesar!_ is not one of their better efforts.
Unrelated: I also wonder why they felt it necessary to hide the fact that they were making a faith-based film in the trailers.
_Final rating:★★½ – Had a lot that appealed to me, didn’t quite work as a whole._
Not for everyone, and maybe that’s a good thing…
HAIL CAESAR! (“A Story of the Christ”, as we are told in the title card) is one of those offbeat gems that I have no doubt grows in affection with repeated viewings. Folks here complain that it’s not a laugh-a-minute farce, that it’s not this, that it’s not that…
Here’s what it *is*: the film version of RADIO DAYS.
Just like Allen made a loving pastiche of radio at its height in the 1940s, so have the Coens done for film at the tail end of its Silver Screen era, when studios manipulated its contract players and worked the media to prevent the “unfortunate” aspects from being revealed to an audience that just wanted escapism fantasy. Josh Brolin is the tightly-wound studio “head of physical production”, an enforcer who’s being seduced by a potential job with Lockheed to oversee work on the atom bomb. Before he can come to a decision about whether or not take it, he has to deal with the sudden disappearance of the slightly disconnected-from-reality George Clooney (who looks like he’s having a blast in this, especially in the final scene of his big budget sword-and-sandel Jesus epic). Along the way, we see the Coens’ take on Esther Williams, Carmen Miranda, Gene Kelly, and a host of other stars from the era…
… and this is what makes the film so damn much fun. It’s not about the story, it’s about how the Coens are celebrating the films we have perhaps idealized a bit too much: Esther Williams’ underwater ballets and Gene Kelly in NYC for 24 hours and Gary Cooper trying to play it in a toney, high-class period drama. There are so many references to the great films of the day that if you blink, you’ll miss a few — they follow fast and furious and sometimes with little more than a sly wink. If you are an old time movie buff, you will love this film to tiny little bits. If not… well, you probably wont enjoy it all that much.
But then the Coens probably didn’t make it for you, did they…
And this would be a comedy because…?
The Coen Brothers have produced some moments of comedy gold over their careers. This film will not join their list of successes.
Why? Because this film is poor. It lures you in with a glorious cast, who should be brilliant in this, and then it repeatedly disappoints. Scene after scene of I’m sure ‘hilarious moments’ on paper, that end up being naff.
Channing Tatum and Scarlet Johansson aside this is a silly film, that doesn’t know if it’s trying to make a point about life/Hollywood or religion or not. In the end it does none of the above.
I cannot recommend this film.
Original Language en
Runtime 1 hr 46 min (106 min)
Genre Comedy, Drama, Music
Director Ethan Coen, Joel Coen
Writer Joel Coen, Ethan Coen
Actors Josh Brolin, George Clooney, Alden Ehrenreich
Country United States, United Kingdom, Japan
Awards Nominated for 1 Oscar. 13 wins & 44 nominations total
Production Company N/A
Sound Mix Dolby Digital, Datasat
Aspect Ratio 1.37 : 1 (some scenes), 1.85 : 1
Camera Arricam LT, Zeiss Master Prime Lenses, Arriflex 535B, Zeiss Master Prime Lenses
Laboratory EFILM Digital Laboratories, Hollywood (CA), USA (digital intermediate), FotoKem Laboratory, Burbank (CA), USA
Film Length N/A
Negative Format 35 mm (Kodak Vision3 50D 5203, Vision3 200T 5213, Vision3 500T 5219)
Cinematographic Process Digital Intermediate (4K) (master format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm (spherical) (Kodak Vision 2383), D-Cinema