When they remade TRUE GRIT, the Coen Brothers clearly thought there weren't enough John Ford westerns -- I agree with them -- so they offered the audience one. With THE BALLAD OF BUSTER SCRUGGS they clearly think there aren't enough movies offering the strengths of the classic B and short westerns: open vistas, lone prospectors, wagon trains, bank robbers, cattle rustlers, gunslinging, moralizing singing cowboys who wander the barren west, strumming their "Radio King" guitars for their horses, and five people inside a stage yarning to each other. So they stuck together half a dozen stories, got their usual assortment of top talent and offered them to us. I am extremely grateful.
Their cinematographer, Bruno Delbonnel, offers us a variety of lighting. I was most impressed by his choices for "The Girl Who Got Rattled", which is staged like posters for WESTWARD THE WOMEN and lit like the covers for Louis Lamour paperbacks in the 1960s. There's an air of artificiality that pervades the movie. That's common enough for the Coens, who like to mock their dead cinematic peers, but. like HAIL, CAESAR shows their fondness for their subject.
Their cinematographer, Bruno Delbonnel, offers us a variety of lighting. I was most impressed by his choices for "The Girl Who Got Rattled", which is staged like posters for WESTWARD THE WOMEN and lit like the covers for Louis Lamour paperbacks in the 1960s. There's an air of artificiality that pervades the movie. That's common enough for the Coens, who like to mock their dead cinematic peers, but. like HAIL, CAESAR shows their fondness for their subject.