AJohnsonA2 - CTCS 190

7/30/2019 AJohnsonA2 - CTCS 190

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a true man during the times, and consequently was how the detective was portrayed on screen.

And though moral and upstanding, Marlowe still displays a coolness characteristic to the vast

majority of detectives in the genre, People go to see detectives such as Philip Marlowe or Sam

Spade as they pulverize the opposition and wreak havoc on the women in the films (Shaheen

37). No detective film could be complete without a seductive woman to tempt the moral private

eye, provided by Lauren Bacall as Mrs. Rutledge. The gritty black and white film noir sold

through a delicate blend of plot complexity, violence, and sex. Abundant are the scandals, drug

references, dark alleys, and hired goons. And through the myriad of conventions and iconography

arrives a private eye who is willing to risk his life in shoot outs and automobile chases and

sacrifice his love for the name of justice, specifically for Marlowe, solving the big sleep

(murder).

Though genre definitely transformed between the post-classical and post-modern periods,

similarities are still prevalent between films of each time. When viewing the film, The Big

Lebowski, parallels in the conventions found in The Big Sleep are evident. The expected goal-

oriented detective is found in the character of Jeff Dude Lebowski. There is even the classic

wealthy client who offers a detective to take care of his problems, sparking further investigation.

The Dude is set against the backdrop of Los Angeles, a city filled with corruption as in The Big

Sleep, Sunset Boulevard, and numerous other films of the detective genre.

However, the post-modernist characteristics of the film are noticeable as The Big

Lebowski breaks down cultural norms. Most notably is the displacement of characters from times

associated with their personality. From German Nihilists, to the pacifism of the dude, the crazed

veteran Walter, the radical feminist Maude, even the industrialist Jeffery Lebowski are al

representative of different eras, but are placed in one context of time. The Coen Brothers also use


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the characters to subvert low and high art in the film. Through the melting of eras and ideals, the

Coen brothers use art within the movie to further break down barriers between genres. The

mixture in the genre of music is directly relates and contributes to the mixture in film genres. The

soundtrack selection does not mesh with the time period of the film. Tracks heard such as Hotel

California are from as early as 1960 and not only represent eras connected with characters, but

also are connected to separate genres. By combining tracks that are iconic or at least conventional

of films of particular genres, the Coen brothers effectively blend genre. Techno Pop songs are

used when the German Nihilists are present and the lyrics represent their ideology, We believe in

nothing (Autobahn). When combining the conventions of the detective film with post-modernist

effects, the film The Big Lebowski is given a unique feel. The Los Angeles setting Bob Dylan

Music and the later revealed characterization of the Dude aid the films cross between Comedy,

western, and detective genres.

Times since the post-war America illustrated in The Big Sleep have conceived a different

breed of American that is alluded to in The Big Lebowski. The rise and decline of industrialism in

America gives film a new social context. A capitalistic economic system plays a large part in

distinguishing class systems that sets apart the two Jeff Lebowskis, the namesakes of the film.

Butler describes the disparity between classes stating, the jobless dude is tapped by a fat-cat

industrialist who is also named Jeffrey Lebowski to deliver the ransom money for the return of

the rich mans kidnapped trophy wife (Robert W. Butler). The Big Lebowski uses the detective

genre to exploit the socio-economic disparity that is definitive of American capitalism, as The

Dude solves a mystery that begins with his rug and ends with the revealed corruption of rich

industrialist Jeff Lebowski. The Coen brothers examine the popular thought of the time that


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failure is unacceptable by society at the time, as represented by the industrialist Jeffery Lebowski,

and contradicts it through the character of the Dude and the post-industrialist era.

The film also takes into account the revelation of the slacker in America. Butler

describes The Dude as, a besotted dropout whose sole loves are bowling and an oriental rug

(Butler). This character type is more relatable to Americans during the time and effectively

supports the post-modern nature of the film as the failure turned detective botches job after job to

eventually piece together a puzzle to solve a crime.

As opposed to the solidified film noir style seen in The Big Sleep, comedy is the main

vehicle in The Big Lebowski. The Dude is unconventional from the traditional detective in

everyway possible allowing his solution to the mystery to be grander than that of most detective

films. His moronic luck is something for viewers to laugh at. The Dude is not even suave or

charming like Marlowe, yet he is pursued by a woman nonetheless, a radical feminist

performance artist wants the Dude to father her child (Butler). Although this does keep a

conventional part of the detective genre intact, it does so in a new light while subverting the

ideology of family life and feminism in the late 20 th century. This contradicts the feminists need

for men. Pregnancy is not possible without a man, yet she wishes for a father of her child to be

absent, resulting in her pursuit of the Dude. The irony and contradiction are used to critique the

socially constructed ideal family a very post-modernistic ploy.

Instead of following the primary plot of detective genre, the Coen Brothers film

undermines it. The detective genre is a close relative to the mystery crime, a genre that has two

main plot paths. Open mysteries reveal the culprit to the viewer, while closed mysteries do not

reveal the culprit in order to build suspense for the audience. The central plot of either type

usually begins with a benefactor paying for the services of a private detective to resolve a


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personal issue that quickly is revealed to be larger than originally thought. The investigation will

generally uncover a murder which the detective then attempts to solve with the help of characters

who are suspects with motives but not the actual culprit. In the end, the main character will

deduct the mystery, solve the crime, or arrest the criminal (Everson).

In The Big Sleep, Philip Marlowe is contacted and hired by General Sternwood a

wealthy man with two daughters to settle an outstanding debt of his youngest daughter Carmen

that resulted in him being blackmailed. In attempt to end the blackmailing Marlowe uncovers

that Carmen has possibly murdered a man. Marlowe then proceeds to uncover clues that lead him

to the conclusion that Carmen did not murder the man, ending the blackmailing and

simultaneously clearing Carmens name and he older sisters conscience.

However, The Big Lebowski differs from The Big Sleep in the typical myth of the

detective film. The Big Lebowski is neither an open nor closed mystery. The truth of the crime is

largely hinted at but is never truly revealed until the end. The only suspect who had a motive was

the benefactor who sought the Dudes services to begin with, and although Jeffery Lebowski

(mis)guided the Dude in resolving the issues he indeed was the actual culprit. Furthermore every

clue the Dude uncovers leads him on a dead end or end up being completely irrelevant. He

lacks deduction skills, and is only able to resolve the mystery by another character revealing the

entire scheme to him. Not only does the Dude disprove the notion that it takes a heroic detective

to solve a crime, he also disproves the myth that justice is always served as Jeffery Lebowski

walks away from his scheme unscathed and without consequence.

The demythologization, hybridization of genres, and topical accommodation used in The

Big Lebowski serves as a means of transforming and developing genre stemming from the post-

classical era into post-modern films. These tools help to develop movies within a genre that vary


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from movies in the same genre from a different era. It is necessary for genre to keep pace with

culture, so that films can be relatable to the audience. This transition to a post-modern detective

aims to please the audience while creating a lovable film, that will forever be known as a cult

classic.


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Works Cited

ROBERT W. BUTLER. LEBOWSKI'' HILARIOUSLY SUBVERTS DETECTIVE GENRE:

ALL edition. Greensboro News Record. 1998:15

Everson WK. The Detective in Film. Secaucus, N.J: Citadel Press; 1972.

Shaheen JG. The Detective Film In Transition. Journal of the University Film Association.

1975;27:36-45.

"ProjectsThe Big Lebowski". Carterburwell.com. Retrieved August 11, 2008.
http://www.carterburwell.com/projects/Big_Lebowski.shtml#Carters_Noteshttp://www.carterburwell.com/projects/Big_Lebowski.shtml#Carters_Noteshttp://www.carterburwell.com/projects/Big_Lebowski.shtml#Carters_Noteshttp://www.carterburwell.com/projects/Big_Lebowski.shtml#Carters_Notes

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AJohnsonA2 - CTCS 190