‘Two Girls on the Run’: my enigma about the Coen brothers deciphered | Culture

It took me a while to melt down before some of the Coen brothers’ films, when their fans were as enthusiastic as they were unconditional from the first one, that forgettable one Easy blood, with which they acquired the title of postmodern and gifted children of Hitchcock’s cinema. Agree that they created a style, alternating caricatures, exorbitant and very personal humor, sarcasm with a touch destroyer, ability to create intrigue. And his brotherhood was also artistic.

They signed the scripts, production and authorship together. And I don’t remember exactly from which title Joel Coen appeared alone, taking responsibility for the direction. They have made films that I find admirable like Death among the flowers, The Big Lebowski, fargo, Value of law and No country for old men. I like the disturbing and twisted ones a little less Barton Fink and The man who was never there. There are others that I find too strange and some immediately disposable, although the personality of their creators always floats in the atmosphere, for better and for worse.

But although the two brothers seem Siamese when making films and their family relationship is as strong as it is unbreakable, sometimes I have wondered what corresponds to each of them in their work. My doubts have been cleared up by seeing Two girls on the run.

I don’t know if there has been a creative divorce between them, or if it is simply a pause in their joint career. He writes it and Ethan Coen directs it. The script belongs to Ethan and Tricia Cooke, who is Ethan’s wife. And the result? For my tastes, so stale as they are, it is one of the silliest and most inane films I have suffered in a long time. And times are difficult, I have to search with a magnifying glass to find beautiful films. She tries hard all the time to be funny and corrosive, but I wouldn’t be able to laugh with her even if Groucho Marx and Buster Keaton appeared. And even if he made notable efforts, he would not be able to remember anything interesting in his characters, his dialogues, the supposedly hilarious and libertarian adventures that his protagonists live.

Is a road moviea genre that was very prestigious, although EasyRider, which symbolized his splendor, is very bad, except when Jack Nicholson appears. And what happens on the road that Ethan Coen has invented? Well, nothing that awakens my attention. Two lesbian girls, one presumably explosive and introverted and the other fragile, travel the country pursued by some killer that respond to the worst caricature. One, on the timid side, discovers sex while the other, vital and brave, comes back. They cross paths with characters who pretend to be colorful and with women who share their sexuality. And any story can work if it is told well.

In the room where I saw its projection, some spectators, very few, exhibited joking, hysterical and exhilarated laughter at specific moments. I regret that I don’t have his sense of humor to connect with what Ethan Coen’s characters do and say. I only recognize one virtue of thanking Two girls on the run: which only lasts 84 minutes, at a time when the footage of a lot of useless films approaches or exceeds three hours. I hope the Coen brothers work together again. And if not, follow Joel’s lead.

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