The Collection Project: When it All Makes Sense

I was feeling rather lumpish last night, both physically and mentally, when suddenly, very late at night, I found myself thinking about the Coen brothers. This, in itself, is not noteworthy. If you and I were to play the "What are You Thinking?" game (that's a game, right?), and you guessed I was thinking about the Coen brothers, you'd probably be right, and sometimes I feel like this blog is just one or two posts away from turning into a full-blown Coens fansite. We're not there yet, but look, right now you're reading one of those very posts.
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The specific Coens film I found myself contemplating was Burn After Reading, from 2008. Not enormously well-loved by critics or audiences at the time, which is something the film has in common with The Big Lebowski, Burn After Reading has subsequently failed to develop any kind of strong cult following, which is something the film does not have in common with The Big Lebowski. This strange little black comedy seems to have mildly befuddled or slightly disappointed just about everybody, a reaction heightened, no doubt, by the fact that it followed their top-to-bottom triumph of No Country for Old Men. Personally, I view Burn After Reading as every bit a part of their creative renaissance (for lack of a less stupid phrase, and in comparison to Intolerable Cruelty and The Ladykillers, two not-bad films that nevertheless cast die-hards like myself into a state of gloomy concern) as that previous film and their eventual follow-up, A Serious Man. In the same way that Fargo's break-out success slightly confused me -- it's a great movie, but what was it about that one that critics and audiences felt was missing from their earlier work? -- the indifferent backing away that greeted Burn After Reading's release continues to leave me puzzled. Do people still really not know what to expect from the Coen brothers? Or I suppose most people could simply not find the film's collection of selfish, deluded, even stupid, characters, mixed with a few bursts of shocking violence, not all that funny, but, again, if you're a fan going in, what's leaving you cold?
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I'm not really asking those questions, by the way (though feel free to answer!); I'm merely registering my befuddlement. And besides, it's quite possible I know the answer, which is that Burn After Reading is one of the most sublimely (to me) pointless film I've ever seen. None of the major characters -- the disgraced CIA analyst (John Malkovich); the pair of moronic gym employees (Frances McDormand and Brad Pitt); their lonely, love-stricken boss (Richard Jenkins); the cocky, unfaithful, practically meat-headed US Marshal (George Clooney) -- have any clue, at any time, what they're doing, or what anyone else is doing, or why any of this is happening -- and it's well worth mentioning that the core reason any of this is happening is that Malkovich decided to angrily quit his job and write his entirely worthless memoirs. Each character gets lost in his or her own motives and wants (as opposed to needs), each has decided, incorrectly, that he or she is smart, and all but one of them loses out in the end, to the point that three of them die violently. For no good goddamn reason at all.
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In that way, Burn After Reading is of a piece with earlier Coens films like their intentionally less funny (but still sometimes intentionally funny) debut, Blood Simple, whose plot is also dependent on all the main players being utterly clueless about what's going on. In that film, cluelessness also leads to some pretty nasty violence, but not only is Blood Simple less funny, it also, like pretty much all dark crime films, comes pre-burdened (which I don't mean as a knock) with a cosmic message -- something along the lines of "Look what behaving in this way and/or associating with these people gets you." Plus, fate. Similarly, The Big Lebowski is as absurd and meaningless in its plotting as Burn After Reading, but Lebowski has a great deal of heart, which the later film is almost completely lacking. I say "almost", because I don't see how one can be fully immune to the disappointment, sadness, and touching guile of, respectively, the Malkovich (I'm thinking of his early scenes, mainly), Jenkins and Pitt characters, but the fates of those three are not only similar in their completeness, let's say, but in the way the Coens practically gloss over them. The result being that one doesn't walk away from Burn After Reading mourning those lost, so much as thinking "That was pretty messed up."
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Of all the complaints against a film, or any work of art, that particularly grate on me, the one I hear most often is "It had no point." The idea that a film, or a story, needs to have a specific "point" for it to be deemed good, or in any way worthwhile, is about as short-sighted as you can get, and this perhaps accounts for the mass indifference that greeted Burn After Reading, because, as I say, it is entirely pointless. It's a film whose story initially flows out of the offices of the CIA, but it's not a political film. It contains criminal acts, including murder, but has no message, no insight into criminal behavior or psychology, or clear satirical point of view. It's just a bunch of shit that happens, because a bunch of people weren't paying attention. And I think the ultimate summarization of Burn After Reading's towering absurdism is this quote from Joel Coen, describing the film:
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It's sort of about the Central Intelligence Agency, and physical fitness, and what happens when those two worlds collide.
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