You can always tell when a filmmaker has attained a considerable standing in the industry when the simple question of “what is their best film?” seems to be almost impossible to answer. In this case, the jury remains divided on what film best represents the iconic careers of Joel and Ethan Coen, who remain amongst the greatest filmmakers of their generation, and for good reason. Asking this question to a dozen different people will likely result in the same number of bespoke responses, and if this does not indicate their incredible artistry, then nothing else will. My personal choice for their best work has always been A Serious Man – it is undeniably their most philosophically profound, has one of the best performances across any of their films in the form of Michael Stuhlbarg, and a personal touch that makes it increasingly more interesting. However, a recent revisiting of O Brother, Where Art Thou? called this view into question, since there are few films that perfectly define the Coen Brothers’ style quite as much as their attempt to make a comedy set during the Great Depression, based around The Odyssey, the timeless text by Homer that has remained one of the most commonly-utilized points of reference in all of literature. This film comes dangerously close to sheer perfection – the unique approach to the narrative structure, the gorgeous filmmaking and eccentric characters all work together to construct this hauntingly beautiful and outrageously funny tribute to the American South, told by a pair of filmmakers that continuously seem to be reworking their vision to tell a number of different stories, of which this almost certainly amongst the very best.

The brilliance of O Brother, Where Art Thou? comes in the fact that this is a film that functions as the perfect marriage of style and substance. The Coen Brothers have rarely (if ever) had trouble when it comes to conceiving of great ideas, as well as putting them into practice – they’re amongst an elite group of filmmakers that are as brilliant writers as they are directors, their vision being clear and concise, and always represented so exceptionally on screen. This film was certainly ambitious – taking its cue from Sullivan’s Travels, the iconic film written and directed by Preston Sturges (who was something of a forerunner to the Coen Brothers in terms of authorial vision intermingling with directorial prowess), the film charts the trials and tribulations of a trio of convicts that set off across desolate Mississippi in the latter years of the Great Depression, searching for a supposedly hidden treasure and doing their best to survive on the long and harrowing road to salvation, with the authorities right behind them all the way. From the first moments, we’re presented with an endless stream of hilarious jokes, which become gradually more developed as the film progresses, and we start to draw correlations between both The Odyssey and Sullivan’s Travels, this film being one of the rare instances where a director can liberally borrow from previous works without it being seen as tacky. This is mainly because the directors know exactly how to handle the material, paying homage rather than outright lifting entire segments from either work – and it leads to a ferociously funny film about the Great Depression, an era that is certainly not liable to be the subject of much humour, which only makes O Brother, Where Art Thou? a more consistently excellent work.

It doesn’t sound like a comedy in theory, but O Brother, Where Art Thou? is one of the most smartly-written films of its era – every scene is bursting with jokes, but much like Sturges’ work (especially the one being indirectly referenced here), there’s an underlying sadness that pulsates throughout the film, making sure the humour is measured and doesn’t go too far beyond the pale. Despite its vaguely slapstick nature, the film is looking at extremely deep issues – poverty, the criminal justice system and racism are all foundational themes that add nuance to the film, serving as the components that are tied together by the outrageous humour. The directors have always been remarkably adept at balancing tone in a way that makes their films multilayered experiences – they find humour in bleak situations, and manage to look at the more sobering side of their more eccentric stories. This is certainly extremely applicable to O Brother, Where Art Thou?, which is as funny as it is heartbreaking – for every joke there is a genuine moment of pathos, and the constant oscillation between the two makes the film such an enduring work of fiction, a perfectly-calibrated blend of genres. Add into this the absolutely gorgeous filmmaking (Roger A. Deakins captures the landscapes of Mississippi perfectly, transporting us back to 1937 in a way that few filmmakers have been able to do), and the excellent writing which is filled to the brim with earnest and hilarious humour, you have a film that combines everything it takes to reach perfection, which it constantly seems to be on the precipice of achieving, only falling short on the smallest and most inconsequential details that are hardly even noticeable, unless one is actively searching for reasons to view O Brother, Where Art Thou? as anything less than an outright masterpiece.

As excellent as the writing may be, as well as the realization of the directors’ vision, O Brother, Where Art Thou? would not be nearly as effective had it not been for the actors at the heart of the film. This brings up a good opportunity to talk about George Clooney – as endearing as he may be, Clooney is more of a movie star than a great actor. However, this doesn’t preclude him from having incredible performances from time to time, of which O Brother, Where Art Thou? is certainly one of them. Playing a hybrid of every dashing hero of the Golden Age of Hollywood (most notably Clark Gable and Cary Grant, two actors to whom he has been often compared), Clooney is tremendous, taking on the role of Ulysses Everett McGill with such astonishing dedication, and proving that with the right material, he can do nearly anything. Accompanying him on this very literal odyssey are John Turturro and Tim Blake Nelson, seasoned veterans of the Coen Brothers’ work, and two of their finest collaborators. Much like Clooney, they lean into the inherent complexities of these characters in a way that is charming and entertaining, rather than being simply peripheral sidekicks to the main character. The three leads are more or less equal in purpose, and they all turn in exceptional performances that feel genuine and very funny. The film is also worthwhile for the smaller roles from the likes of Charles Durning and another of the directors’ regular collaborators, the consistently brilliant John Goodman, who may only have two scenes, but makes the best of them. The ensemble of O Brother, Where Art Thou? is excellent, and each one of them contributes not only to the tone of the story, but also the specific time and place in which the story is set – we almost feel as if we are getting a glimpse of real folk during the Great Depression, not merely seeing a group of actors putting on a show, which adds to the very unique tone of this film, grounding it without making it prosaic.

O Brother, Where Art Thou? is a tremendously entertaining film, and one that is not afraid to wear its heart on its sleeve, making it very clear where its intentions lie, and ensuring that we understand exactly what it is trying to achieve. Joel and Ethan Coen are not considered amongst the best in their generation without reason – their films are concise, effective and always deliver exactly what they promise. With the exception of a few minor efforts, nearly everything they produce feels like an event – but who could’ve imagined a film that combines a text plucked from the halls of the antiquity and a 1940s screwball comedy could come together to form something so brilliant? The film knows exactly how to temper itself, so it never feels like it is aimlessly wandering – but this doesn’t prevent it from being effectively meandering, trotting through the American South with reckless abandon and a strong sense of humour. The directors have a knack for finding the humour in every situation, and while not everything in O Brother, Where Art Thou? is endlessly hilarious, there is a sense of levity in most situations, which contrast with the few melancholic moments, which make this film a much more complex work than it appears on the surface. Guided by music, humour and mythology, this film is an absolute triumph from beginning to end, being as entertaining as it is thought-provoking, and proving that small details can amount to an enormous reward with the right amount of dedication from both artist and viewer.