Barton Fink (Joel Coen, 1991)

Looking back at the Coens' film collection as a whole, one would have to say that each picture is a homage to a popular genre in Hollywood. In particular the Hollywood genres during the classic decades for film such as the 1950s and 60s. The Coens have strived, and successfully for the most part, to bring back the spirits of those films and the occasionally masterful way they were presented on screen by hall of fame directors such as Alfred Hitchcock, John Ford and Orson Welles. So it came as no surprise when they chose 'Barton Fink' as their chance to satirise life within Hollywood and specifically the turbulent life of a budding screenwriter, a topic in which they are surely well-versed. John Turturro, possibly the best Coens' actor of all, takes on the difficult title role as the wide-eyed New York writer who soon finds that "between Heaven and Hell there is Hollywood" as his dream coast to coast move gradually becomes a nightmare in which he is fighting for his sanity, his career and his life. In true David Lynch style, we are taken through the labyrinth of personalities which Barton encounters and whilst we, the audience, attempt to unravel them we still have to negotiate the mind-bending script with its blink and you'll miss it punchlines. The film is puzzling but well worth sticking it with, probably requiring a repeat viewing in order to be fully digested. John Goodman pops up in another larger-than-life role, this time as Barton's seemingly friendly neighbour. Little is what it appears to be in this cutthroat drama set in the murky yet desirable world of American film. Features some of the Coens’ finest cinematography.

Miller's Crossing (Joel Coen, 1990)

Should surely be considered unlucky to have been released in the same year as Goodfellas. Miller's Crossing is the Coen Brothers best movie to date. This is nothing short of a cinematographic masterpiece, one which explores the successes of two warring 'families' during the Prohibiton Era and how varying degrees of loyalty, love and friendship serve to bring about strategic chaos for both sides. Tommy-Gun dialogue, a wonderful script backed up by a directing clinic add up to a twisted, laconic and violent wiseguy epic which can stand up against the best films in the genre. The Coen's film noirs play on the phrase 'all is fair in love and war' they excel in their depiction of this theme. The quips are razor sharp and this is a film which effortlessly warrants multiple viewings. The acting is first-rate with Finney, Byrne and Turturro mesmeric. In and around my ten top films since I first saw it premiere on television in 1993, I really cannot recommend this gem highly enough. J.E. Freeman's Dutchman is another of the classic Coens' characters. Cruel but fair, he serves his boss with unerring loyalty and deadly precision while refusing to pity the fools. *****

Raising Arizona (Joel Coen, 1987)

The Coen Brothers follow-up to their critically acclaimed film noir debut 'Blood Simple' (1984) is a madcap comedy, reminiscent of some of Hollywood's best screwball comedies, which is played for laughs and would work just as well if it had been animated! Struggling cop and robber couple, played by future Academy Award winners Holly Hunter and Nicolas Cage, are unable to have children of their own. In line with the humorous film narrative it therefore seems perfectly reasonable that they 'borrow' a baby from one of the richest families in the state and raise him as their own. On the run from police and private investigators alike, the couple go on the run...a journey which teaches them much about themselves and what they would be prepared to do to have a family together. John Goodman makes his first Coen appearance as a crazy escaped convict (watch out for the hilarious scene which 'Shawshank Redemption' (Frank Darabont, 1994) stole in a manner of speaking) who sees a chance to make a quick buck at the expense of others. When all is said and done in the world of Raising Arizona, it is the performance of former heavyweight boxer Randall 'Tex' Cobb as relentless manhunter Leonard Smalls which really catches the eye and imagination and represents one of Coens' best ever characters. He and the hired gun from 'Blood Simple', as I mentioned in my review, are the catalysts for the creation of the man monster terminator Anton Chigurgh from 'No Country for Old Men' (2007).

Blood Simple (Ethan Coen & Joel Coen, 1984)

When you are as enthusiastic and knowledgeable about film as the Coen Brothers, your first feature film has to set your stall out in terms of what your main issues are in relation to society, film, cinematography and indeed your own personality(-ies). Ethan & Joel Coen's love of 1940s film noir shines brightly in what is essentially a cold-hearted revenge movie where the audience is given the power of all knowledge over the main characters in the piece and takes pleasure in seeing the protagonists on screen struggle to come to terms with the increasing madness happening all around them. Texas bar owner Dan Hedaya taps up gun-for-hire M. Emmet Walsh to take care of his estranged wife Frances McDormand and her handsome lover John Getz. The subtle ways through which this simple premise becomes anything but is one of Blood Simple's guilty pleasures. The direction is eerie, darkly lit for the most part and expansive when required. One of the most atmospheric films in recent times, there are periods where words are not required as the narrative moves along with just picture motion. As we have seen with subsequent characters in Coen crime thrillers, nearly everyone is hard to like but each individual viewer will still pick out one person who they would like to see win through in the end. Splashed with healthy doses of misdirection, deception, double-crossing and cheating, Blood Simple is the foundation upon which the Coens built their legacy and much of what they say here is still very relevant. The evil that men/women do when protecting their money or pursuing affairs of the heart can never be underestimated. M. Emmet Walsh's hired gun shares displays many of the callous characteristics which the Coens love to see in their bad guys.

Fargo (Joel Coen, 1995)

One of the best thrillers of the 90s, in which the Coen's explore the events of a botched kidnapping, instigated by a marginal car salesman William H. Macy who is heavily in debt and hopes that a nice slice of life insurance money will bail him out. The humour here, in contrast to No Country for Old Men, allows one a chance to breath easily-though the callous nature of the violence will still be felt by the audience. Frances McDormand's best actress Oscar was achieved through a measured and brilliant performance as the heavily-accented pregnant policewoman on the case. This is an excellent film noir, set against a snow-filled backdrop similar to 'Blood Simple (1984), in which the siblings again depict the differences between people who travel in order to kill for money and the townspeople who are stunned by the actions of the devils who have descended upon their once peaceful neighbourhood.