The Ladykillers
Directed by: The Coen Brothers
Written by: The Coen Brothers, William Rose
Starring: Tom Hanks, Marlon Wayans, J.K. Simmons, Irma P. Hall, Tzi Ma

In a perfect world we’d get a new Coen Brothers movie at least once a year, and it would live up to the high standards set by the assortment of classics they’ve produced in the past. Unfortunately this isn’t a perfect world, and although the Coen Brothers are currently doing their best to pump out movies at a brisk pace, the quality of the films seems to be suffering just a smidgen.

Last year’s Intolerable Cruelty was a landmark moment in film history as it was perhaps the first Coen Brothers movie that was *not* universally worshipped by film nerds around the world (mostly because it disguised itself as a mainstream romantic comedy). Although I personally enjoyed it, I ascribed any of the movie’s weaknesses to the fact that it was not written entirely by the Coens — and also to the hope that they were concentrating more of their efforts on The Ladykillers, which was in production almost directly afterwards.

Now it has become clear to me that The Ladykillers did not receive the full “Coen treatment” either, so to speak, though it carries with it a lot more of their trademarks. It seems a bit slow at points (with some throwaway scenes inserted to stretch it out) and some of the humour falls flat, but I don’t think it was a bad movie by any means. I think this is the kind of movie that needs time to grow on you with repeated viewings just like many of their best flicks do.

The Ladykillers is actually a remake of a 1955 comedy starring Alec Guinness and a young Peter Sellers, which may explain why it doesn’t entirely feel like a Coen Brothers story. I am willing to bet, however, that the original is substantially different in all but the basic plot. This is because the zany cast of misfit criminals is a group that only the Coen Brothers could have dreamed up.

It has been said that Tom Hanks always plays the All-American Good Guy, but for once here is a role where he is the exact opposite. He is the smooth-talking, poetry-loving Professor G.H. Dorr, PhD, the mastermind behind a criminal operation aspiring to rob a casino riverboat. He rents a room from Mrs. Marva Munson (Irma P. Hall), a suspicious bible-thumping widow, and talks her into letting his musical ensemble practice in her fruit cellar. Of course, his “musical ensemble” is actually the group of thieves, and what they are doing is tunnelling from the basement of her house to the vault of the riverboat. Once again… only in a Coen Brothers movie would such a ridiculous scenario play out as it does.

While Hanks carries much of the movie with a high level of kinetic energy, it is the supporting cast members that really clinch the movie’s true worth. Marlon Wayans will be the most recognizable to many as Gawain MacSam, the inside man for the job who has a foul mouth and gets reprimanded by Ms. Munson on numerous occasions. At times his bad attitude becomes annoying, but he does deliver some funny moments. Then there is the young and brainless football player Lump (Ryan Hurst), recruited for his physical presence (which is, oddly enough, never needed), who refers to Professor Dorr as “Coach”. There is the quiet, ruthless assumed ex-military man known only as “The General” (Tzi Ma), who sports a Hitler moustache and is brought on board for his tunnelling experience. Perhaps the most amusing of all is Garth Pancake (J.K. Simmons), an expert in TV commercial special effects and demolitions who has a problem with Irritable Bowel Syndrome. Last but not least there is a cat named “Pickles”, which really needs no further justification for being mentioned.

The set up seems perfect for the hilarity and hijinks that does clearly ensue, however I found that some of the movie’s thunder was stolen by the trailer which spoiled many of the best jokes and classic one-liners for me. I often found myself smiling, rather than laughing out loud, which may be more a reflection on me than on the movie. Still, there were enough comedic gems and stylistic highlights to make this movie worthwhile.

Like many Coen movies, The Ladykillers faithfully captures the feel of a particular locale, in this case a small town of Saucier, Mississippi. It wouldn’t be a Coen Brothers’ movie without quirky accents, and the use of gospel music throughout gives a distinctive flavour and atmosphere on par with the use of bluegrass in O Brother Where Art Thou.

It is the “denouement” of the film where The Ladykillers really shines and the Coen Brothers leave their most obvious signature. The ending is a downhill snowball of unlikely events that proves the Coens have not lost their wit and grace in telling a story. The Ladykillers is most definitely a dark comedy, and it may not suit everyone’s tastes. However, if you are already accustomed to the exaggerated, hyper-reality from the minds of the Coen Brothers, you should feel at home here.

Don’t count the Coens out yet; they are clearly still just as effective and sharp as they have been in the past. If they weren’t rushing things quite so much maybe they would be able to deliver even more consistently, but The Ladykillers is still worth checking out — if not for the Coen Brothers’ humour and cinematic flair, then for one of the most divergent roles in Tom Hanks’ career. — Sean– Sean