Entertainment
Forgotten, Unseen Coen Brothers Comedy Is Their Most Polarizing Effort
By Robert Scucci
| Published
It’s never fun when brilliant filmmakers like the Coen brothers swing for the fences and miss. In the case of 2017’s Suburbicon, the fences are of the white picket variety, and George Clooney handled co-writing and directorial duties. The result of this collaboration is two completely different films jammed into one, making for an interesting experiment in social satire that never quite feels satisfying.
Suburbicon was originally penned by the Coen brothers shortly after Blood Simple made its rounds in 1985. The project was conceived as a murder mystery set in an idyllic suburb, but it took on a completely different tone once George Clooney became involved. Clooney’s contributions to the script include a storyline about a Black family moving into an all white neighborhood in the 1950s, and dealing with the kind of racial fallout you’d expect when their new neighbors don’t take too kindly to their presence.
While both stories are solid in their own right and very well could have succeeded as separate films, Suburbicon ultimately misses the mark because they never fully converge. The result feels like two separate movies limping past the finish line instead of effectively getting their points across.
A Murder Mystery And A New Family On The Block
The primary story in Suburbicon centers on the Lodge family. Gardner Lodge (Matt Damon) and his wife Rose (Julianne Moore) initially appear to be your typical American family. They project a happy marriage, and their son Nicky (Noah Jupe) is a picture-perfect child living in suburbia. Always present at the Lodge household is Rose’s identical twin sister, Margaret (Julianne Moore), who is romantically entangled with Gardner.
One night, hitmen Ira Sloan (Glenn Fleshler) and Louis (Alex Hassell) break into the Lodge residence, though their intent remains dubious at this point in the film. They chloroform the family to subdue them, but end up giving Rose, who is a paraplegic, a fatal dose, leaving Nicky without a mother. In the weeks and months that follow, Margaret begins dressing and acting like Rose, slowly infiltrating the Lodge family as if she had always been the matriarch.
The family is later brought into the police station to identify the men who destroyed their lives. Nicky is certain that the men who killed his mother are in the lineup. Gardner outright denies they are the same men, and Margaret follows suit. The entire situation doesn’t sit right with Nicky, and it is only a matter of time before the truth rears its ugly head.
Meanwhile, the Mayers family, who are Black, move into the Suburbicon subdivision and are met with immediate backlash. Nicky befriends Andy Mayers (Tony Espinosa), and the two get along just fine. Andy’s mother (Karimah Westbrook) and father (Leith Burke), however, are subjected to discrimination and cruelty from neighbors who want their community to remain all white. The racial tension ultimately boils over into a riot fueled by good old fashioned family racism, while the murder mystery at the Lodge residence continues to unfold with disastrous results.
Two Different Movies Trying To Be One
Both stories in Suburbicon work well on their own, but things get messy when they are forced together. The entire time I was watching the film, I kept waiting for both narratives to intersect in a meaningful way during the third act, and they technically do. However, that intersection feels forced through the film’s satire, resulting in a sloppy resolution. This is frustrating because the social commentary is all there, and the second and third acts could have been structured differently to tell a more cohesive story.
If the Coen brothers and George Clooney had wanted to fully commit to the satire and push Suburbicon into outright absurd territory, they could have pulled it off in the same way they did with O Brother, Where Art Thou?
A white family suffers a fatal home invasion at the same time a Black family moves into the neighborhood, even though we know the culprits behind the invasion are clearly white. The community then leans into racism by inventing a correlation and letting their imaginations spiral. We get traces of that idea in Suburbicon, but for it to land properly, the murder mystery would need to take the back seat.
By the same token, in order to fully explore the murder mystery, the racial commentary would need to be scaled back. Suburbicon suffers, and ultimately fails, because it does not know which lane to stay in, and even worse, it does not know when or how those lanes should intersect to create a sharp, effective satire that effectively explores both sides of the coin it’s tossing into the air.
Suburbicon boasts all the Coen brothers flair we have come to know and love over the decades, but it plays more like a proof of concept than a fully realized film. It never feels completely fleshed out. Instead, it comes across like their script was thrown into a blender with George Clooney’s, splattered onto a storyboard, and then rushed into production once Clooney said “action.”
As of this writing, Suburbicon is streaming for free on Pluto TV.