I Am a Man of Constant Sorrow is a masterpiece. It's too bad that it is remembered more than the movie, which is great. George Clooney, John Turturro and Tim Blake Nelson are wonderful together and I'll watch anything with those three.

I think you'll like this film if you like and have a good grasp of The Odyssey, but if you don't know anything about The Odyssey and go in blind, I feel like you're just going to leave mostly confused but still bopping to a killer soundtrack

Nearly as funny to me as the Coen's "The Big Lebowski", this ranks in my Top 5 Coen Brothers films. "O Brother..." is hilarious. George Clooney's rapid fire delivery as Everett is one of my favorite comedic performances. Setting aside that he's a "Dapper Dan Man", his endless expounding about anything and everything is the very best part of the film. You can see him trying to hold back a smile during his theorizing. It fits Everett's personality that he would be grinning, but I'll bet Clooney caused a lot of re-shoots. If he didn't have fun making this film, I'd be shocked. A close second is the performance of Tim Blake Nelson as Delmar. He's big-hearted and not so dumb as Everett claims. Delmar is the glue that holds the trio together and quickly establishes relationships with the quirky and possibly insane characters they encounter during their escapes from the law. This is much more a combo of set pieces than it is a cohesively told story. The "Soggy Bottom Boys" encounters with nasty fellers like Big Dan Teague (John Goodman) and Baby Face Nelson (Michael Badalucco) are hit and miss, while the baptism scene and the first burning barn escape are pure gold. But the inclusion of Everett's wife Penny (Holly Hunter) feels unnecessary. It diminishes Everett's character to me, although it does help explain that he's a magnetic personality but a very questionable decision maker. Overall, I'd describe "O Brother, Where Art Thou?" as a dusty, dirty Southern fantasy. It's a film I can watch anytime.

Joel and Ethan Coen use one literary throwback to reference another, injecting key elements of Homer’s _Odyssey_ into a Great Depression flight that tracks three roving ex-members of a Mississippi chain gang. In isolation, that concept sounds like a load of overwrought, high-minded nonsense, but in action it’s a charming, one-of-a-kind adventure that’s hooked me for years. Loaded with the Coens’ usual calling cards - rich characters, adept plot, nuanced visual motifs and impeccable timing, not to mention a series of inspired performances from A-list actors - it’s no wonder this works so well. One needn’t be steeped in Greek mythology to appreciate _O Brother_, nor must they have family connections in the deep south, but it doesn’t hurt. The extra context adds to the fabric, but this ride kicks plenty hard on its own. Under the persistent threat of baying hounds, our three protagonists (George Clooney, John Turturro and Tim Blake Nelson) ramble from one unlikely scenario to another. Tempted by sirens here, assaulted by a cyclops there, they find fame and fortune, lose it, escape untimely ends by pure, dumb luck and immediately commence the whole act over again in a new town. All the while, embracing the cryptic premonitions of a blind oracle from the opening act. There’s an deadly dose of the serious in their predicament, one that’s never discounted, but _O Brother_ is also a consistently, effectively funny film that doesn’t cling or mope. Clooney’s the ringleader in this regard, taking everything so seriously (himself most of all) that it’s impossible to keep a straight face when his best-laid plans inevitably go up like flash paper. Sometimes in a physical sense, others in a poetic one. Turturro and Nelson, to be fair, also hold their own in this respect, albeit with less of a spotlight share. They’re a pitch-perfect set of lead characters who get even better when served together. Beneath all the lush adventures, iambic monologues and sardonic punchlines lies an inescapable musical accompaniment; an excellent introduction to the period’s popular folk, bluegrass and Appalachian stylings. Even if you aren’t a fan of the genre (as I typically am not), _O Brother_’s soundtrack is so catchy, it’s impossible to resist tapping a toe, shaking a hip and revisiting the whole compilation on Spotify the next morning. A set of essential, resonant selections that touch the soul and move the heart. Thematically appropriate, too, with a demonstrable relevance to damn near every scene. This would still be a good movie with a less-accomplished score, but such perfectly-matched tunes help make it a great one. This is cinematic soul food. A top-notch fable from two acclaimed auteurs at the top of their game, _O Brother Where Art Thou_ pairs gorgeous, sepia-drenched scenery with an up-tempo plot, precise humor, colorful cast, metaphorical riches and magical music. It’s as full a movie-making meal as I think I’ll ever want, and holds a warm place in my heart. Top marks.

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