Hail, Caesar! (2016)

Have you ever wondered what life was like in the Hollywood of the 1950s, when actors were under contract to the studios, when studios controlled and monitored every aspect of their actors’ lives? If the answer is yes, then perhaps this film will help to answer your question.

Eddie Mannix (Josh Brolin) has a difficult job. He is the executive in charge of Capitol Pictures, a studio trying to make a life- and world-changing picture called ‘Hail, Caesar!’ among other titles. The majority of his day consists of covering up for his contracted stars’ indiscretions, numerous PR disasters, in other words.

In the course of a single day, so many things go wrong, and he races against the clock to fix as many of them as he can without making too much of a scene for the tabloids in the process.

Firstly, the big star of ‘Hail, Caesar!’, Baird Whitlock (George Clooney) is missing, believed kidnapped. Next, one of his leading ladies – DeeAnna Moran (Scarlett Johansson) is pregnant and unmarried, a scandal for the time. The lead in another film is replaced by a young western star named Hobie Doyle (Alden Ehrenreich), who struggles with the serious dramatic picture he is completely unaccustomed to, and struggles even more to impress the film’s director, classically-trained Laurence Laurentz (Ralph Fiennes).

Add to all this the pressures of home life, and being headhunted by another company, and a communist plot to undermine the studio, and it’s not hard to see how difficult his life can be.

Joel and Ethan Coen, who wrote, produced and directed this movie, have – to use a phrase that is in danger of being overused – done it again. This film is a beautiful homage to the films of the classic age of Hollywood, while at the same time, being made in the very style of those films.

The production design (by Jess Gonchor) and costume design (by Mary Zophres) create an atmosphere that is unmistakably 1950s Hollywood. Add to that Roger Deakins’s cinematography, and it feels like you are actually watching a classic film.

Carter Burwell’s original score is as much a part of the mix and overall ambience as anything else. The music is not overused at all, but is perfectly balanced within the whole undertaking. There doesn’t seem to be a thing out of place about this film.

The performances of the cast are all fantastic. If you’ve seen George Clooney do comedy before, you know that you’re in for a treat. And seeing him in a Coen brothers’ comedy (remember O Brother, Where Art Thou?) again is so enjoyable. The Coens seem to have a love for Clooney’s comedic ability, and it pays off here.

Ralph Fiennes is also a master of timing here; there is an absolutely hilarious exchange between him and Ehrenreich on the set of his film that never fails to make me laugh, despite the fact I know it’s coming, having seen this film a few times now.

The script is very well-written, and expertly crafted. Then again, if you’ve seen any film by the Coen brothers, that shouldn’t be a surprise to you.

Look out for the brilliant dance numbers, one of which features Scarlett Johansson and a beautiful array of synchronized swimmers, and the other showcasing the singing and dancing ability of Channing Tatum. These are both so well executed, and again, are reminiscent of films of the era.

You should definitely watch this film if you haven’t done so yet. No matter what your taste, you will find something to love about it.

8 1/2 out of 10.