A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
When "The Dude" Lebowski is mistaken for a millionaire Lebowski, two thugs urinate on his rug to coerce him into paying a debt he knows nothing about. While attempting to gain recompense for the ruined rug from his wealthy counterpart, he accepts a one-time job with high pay-off. He enlists the help of his bowling buddy, Walter, a gun-toting Jewish-convert with anger issues. Deception leads to more trouble, and it soon seems that everyone from porn empire tycoons to nihilists want something from The Dude. Written by
The Dude tells Maude he was a roadie for Metallica on their (fictional) "Speed of Sound" tour and refers to the band members as a "bunch of assholes." Metallica themselves were flattered to be referred to in a Coen Brothers movie, with guitarist Kirk Hammett once noting in an interview that they'd tried to think of a way to incorporate that scene into their live shows. See more »
During the opening scene, in which the camera moves back to show several bowlers release at the foul line, one bowler rolls a translucent bowling ball. The ball, an Ebonite Clear Wolf, was not released until the mid 1990s. See more »
Way out west there was this fella... fella I wanna tell ya about. Fella by the name of Jeff Lebowski. At least that was the handle his loving parents gave him, but he never had much use for it himself. Mr. Lebowski, he called himself "The Dude". Now, "Dude" - that's a name no one would self-apply where I come from. But then there was a lot about the Dude that didn't make a whole lot of sense. And a lot about where he lived, likewise. But then again, maybe that's why I ...
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It's a travesty that most critics only read The Big Lebowski at its most superficial level and called it a modern take on a Raymond Chandler potboiler. I simply can't begin to perceive how one could sit down in front of this cinematic pop-poetry, as it plates gold on the silver screen, and not feel so incredibly alive. The dream sequence Busbee Berkley musical numbers are unique and awe-inspiring; the humor is rich, subtle, and clever in the way it satirizes politically correct arrogance; the free-flowing story avoids (even pokes fun at) nonessentials like plot points and pay-offs. But what really makes this film such a masterpiece, such a panacea, is the incredible humanism, the care that the Coen brothers put in developing The Dude (Jeff Bridges), Walter (John Goodman), Donnie (Steve Buscemi-tremendously endearing), and Brandt (magnificently played by Phillip Seymour Hoffman). Looking at the films use of Sam Elliott to play The Stranger, who constantly rambles about the many wonders of The Dude (among other things), it is clear that the film is an ode to a Dudist way of life. And in a time where so many film promise that they have the answer to the worlds problems and end up as slick, stylistic show-off films, what more could one ask for than a good-hearted film like this? Not to mention the performance by Jeff Bridges, which ranks among the best performances of the nineties; he has a relaxed slouch, a goofy smile, an enthusiastic dance, and his buttons can only be pushed by Walter, who John Goodman plays with charm and fury. The Coen brothers have always been considered 'cold' filmmakers, but there is nothing here but warmth and humanity (as is the case with the Coens' Fargo). What we have here is one of the greatest achievements in modern cinema and if you can't see that, grab a White Russian, hit the bowling ally, and find your inner-Dude as soon as possible.
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