A former assassin known as The Bride wakens from a four-year coma. The child she carried in her womb is gone. Now she must wreak vengeance on the team of assassins who betrayed her - a team she was once part of.
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's car is a 4-door 1973 Ford Torino. Two vehicles were used in filming. One was destroyed during the filming, the other was destroyed in the filming of The X-Files (1993) season eight, episode nine, "Salvage". See more »
In the opening scene with the various bowlers, the big African-American bowler throws an orange ball, but the ball that is shown smashing one pin against the other is blue. This is repeated with the next bowler, who throws a wine red ball but the ball that arrives is red-blue. 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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Written and Performed by Henry Mancini
Published by Northridge Music,
Administered by MCA Music Publishing,
A division of Universal Studios, Inc. (ASCAP)
Courtesy of the RCA Records Label of BMG Entertainment See more »
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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