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Homer would not be amused

'O Brother, Where Art Thou?' an oddball Odyssey

graphic

In this story:

An epic journey, sort of

Pretty but well, dumb



(CNN) -- Only Joel and Ethan Coen would try to adapt Homer's "The Odyssey" into an escaped convict movie that's more or less an omnibus of sweaty hayseeds running, falling down and slapping each other with their hats. But that's the whole point of their new movie, "O Brother, Where Art Thou?," which stars George Clooney, John Turturro, and Tim Blake Nelson as the rattled escapees. "O, Brother" (an accurate abbreviation) ranks with the Coens' most frantic "We don't give a damn" hootenannies.

Pitched somewhere between "Barton Fink"'s (1991) faux social commentary and "Raising Arizona's" (1987) hilarious redneck ranting, it's one of the Coens' "and then" movies.

The construction isn't really based on narrative concerns, although it pretends to be. It's more like a series of nutty situations that the brothers wanted to film, with the concept of "and then" serving as connective tissue. Lesser directors than these guys have used this ploy in the past: It's called "a road movie."

The period of the late 1930s is elegantly established, then the nominal heroes escape from their torment. Then they meet a Robert Johnson-like blues guitar player (Chris Thomas King), and then they meet Baby Face Nelson (Michael Badalucco), and then they hear the siren song of some beautiful Southern women, and then they meet a one-eyed Bible salesman (John Goodman), and then the governor (Charles Durning) is after them, and then they stumble into a KKK rally, and then, and then, and then

And then the movie's over, and you wonder why people who are this wildly talented would bother with something that's pretty funny, but inherently useless.

Clooney plays Ulysses Everett McGill, a loquacious con man who miraculously manages to scamper away from a chain gang. Out of necessity, he also brings along the two slobbering rubes he's been chained to, Pete (Turturro) and Delmore (Nelson). Everett quite accurately describes his unwanted cohorts as "dumb as a bag of hammers."

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But he's no rocket scientist himself, regardless of his propensity for six-syllable words. This is a common Coen brothers dialogue trick, one that works more often than it fails. Just like the characters in "Raising Arizona," these guys are beyond idiotic, but still speak as if they read Plato in the outhouse and have a thesaurus tattooed on the underside of their eyelids.

An epic journey, sort of

The Coens proudly admit they've never read "The Odyssey," so you won't have any trouble with the movie if you're in the same boat. Everyone knows that it's a sprawling journey of adventure and self-discovery. "O Brother, Where Art Thou?" is peppered with scenes inspired by Homer's tale, with Everett supposedly pursuing a pot of gold at the end of the journey. The best approach is simply to sit back and wait for the knockout punch lines and sight gags.

This may be mid-level Coen brothers, but that still makes it funnier than some of the year's most highly praised comedies. Clooney gets off the best lines, even though he's the wrong actor for the role. He certainly looks the part. Everett is a would-be suave Clark Gable type who's obsessed with his hair.

There are several classic Coen brothers moments that center around Everett's loyalty to Dapper Dan pomade. (He actually resembles the guy on the can.) At one point, Everett considers sneaking up behind the posse that's been sent to retrieve him because he wants to get his pomade out of the car before he takes off running again. He also wears a hair net while he sleeps, and immediately voices concern for his coif when he's shaken awake.

Pretty but well, dumb

The trouble with Clooney is that he's obviously an intelligent actor pretending to be very, very stupid. Nicolas Cage always seems close to moronic, so it's not much of a stretch to accept him falling into ill-advised, Coen-style shenanigans.

It should be pointed out, though, that Clooney, more than any other actor on the scene today, knows how to pick a director. He's only made a handful of films, but he's already worked with David O. Russell ("Three Kings," 1999), the Coens and Steven Soderbergh ("Out of Sight," 1998, and the yet-to-be-released "Ocean's Eleven") - talented commercial filmmakers, each. It's apparent that Clooney not only wants to make movies, he wants to make great movies. It's no fault of his that this one doesn't rise to that level.

Turturro and Nelson fare better as far as the casting goes. Nelson's Delmore is a quietly comic creation with real heart, though he's the dimmest bulb in a movie that's loaded with them. He's the only character the for whom the Coens show any true sympathy; even Everett seems to like him after a while. Turturro, on the other hand, whoops it up mercilessly. His ongoing reputation as a premier actor seems more than a little bit unearned by now. This guy could go over the top while taking a nap. The Coens' commitment to more-more-more only allows him to edge closer to the classically trained Jerry Lewis vibe he's been pursuing for the past several years. In "O Brother," he even sports a set of garish false teeth.

As always, the Coens' technical abilities are beyond reproach. They shoot graceful, beautifully conceived footage. Roger Deakins' golden cinematography and Dennis Gassner's unobtrusive production design are worthy of special recognition. Too bad all that ability was applied to an especially elaborate variation on "Hee Haw."

Trade papers have suggested that the Coens are preparing an adaptation of the late James Dickey's almost wordless existential World War II novel, "To the White Sea." If that's the case, good for them...and good for us. It's not a sin to get serious once in a while.

"O Brother, Where Art Thou?" is goofy in the extreme. The person-to-person violence is just silly. Unfortunately, the Coens choose to include a cow being shot with a machine gun, and another one that gets hit by a car. It looks very real, and it's too cruel to be funny. Rated PG-13. 107 minutes. By the way, T-Bone Burnett compiled the gorgeous soundtrack full of plaintive country tunes from the 1930s. Shania Twain must have been busy designing a laser show.



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O Brother, Where Art Thou?

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