There is a good argument to be made for the filmmaking team of brothers Ethan and Joel Coen (one a director, the other a producer, both screenwriters) to be as mainstream as cult filmmakers can possibly get. Yes, they have Oscars (and many other awards) and have had box office success (OK, not up there with “Star Wars” or the biggest works of Steven Spielberg, but pretty good for “quality” filmmakers), but almost every film they have made has some kind of cult following.
These cults aren’t always cut along the lines of box office or award success. Yes, “Fargo” (1996) was a big hit and cult item but so was 1998’s “The Big Lebowski”, now virtually one for the pantheon, which is not at all how the film was first seen by reviewers or the public.
Even films such as “The Hudsucker Proxy” (1994) and 2016’s “Hail, Caesar!”, once thought of as misfires, now have passionate defenders (and if one doubts this, cross one of those acolytes). However, there are some exceptions, such as 2003’s “Intolerable Cruelty”, 2008’s “Burn After Reading”, certainly 2004’s remake of “The Ladykillers”… and, very oddly, 1990’s “Miller’s Crossing”.
“Miller’s Crossing” is a period gangland drama (with black comedy touches). It is true that the Coen’s comedies, even the purer black ones, tend to have more of a following than the dramas but the blind eye many turn to this film (admittedly, an early drama for the brothers after notable comedies and their debut, the neo-noir Blood Simple in 1984) is puzzling. However, being a drama doesn’t seem an impediment for such films as the Oscar winning No Country for Old Men (2007) or Inside Llewyn Davis (2013), a film also with an initially cold reception.
The thrust of this article is meant to point out this film’s → continue…
From:: Taste Of Cinema