The Big Lebowski

The Dude is mostly inspired by Jeff Dowd, an American film producer and political activist the Coen brothers met while they were trying to find distribution for their first feature, Blood Simple.[10]^: 90[11] Dowd had been a member of the Seattle Seven, liked to drink white Russians, and was known as "The Dude".[10]^: 91–92 The Dude was also partly based on a friend of the Coen brothers, Peter Exline (now a member of the faculty at USC's School of Cinematic Arts), a Vietnam War veteran who reportedly lived in a dump of an apartment and was proud of a little rug that "tied the room together".[12]^: 188 Exline knew Barry Sonnenfeld from New York University and Sonnenfeld introduced Exline to the Coen brothers while they were trying to raise money for Blood Simple.[10]^: 97–98 Exline became friends with the Coens and in 1989, told them all kinds of stories from his own life, including ones about his actor-writer friend Lewis Abernathy (one of the inspirations for Walter), a fellow Vietnam vet who later became a private investigator and helped him track down and confront a high school kid who stole his car.[10]^: 99 As in the film, Exline's car was impounded by the Los Angeles Police Department and Abernathy found an 8th grader's homework under the passenger seat.[10]^: 100

Exline also belonged to an amateur softball league but the Coens changed it to bowling in the film, because "it's a very social sport where you can sit around and drink and smoke while engaging in inane conversation".[12]^: 195 The Coens met filmmaker John Milius when they were in Los Angeles making Barton Fink and incorporated his love of guns and the military into the character of Walter.[12]^: 189 John Milius introduced the Coen Brothers to one of his best friends, Jim Ganzer, who would have been another source of inferences to create Jeff Bridges' character.[13] Also known as the Dude,[14] Ganzer and his gang, typical Malibu surfers, served as inspiration as well for Milius's film Big Wednesday.[15]

Before David Huddleston was cast as "Big" Jeffrey Lebowski, the Coens considered Robert Duvall (who did not like the script), Anthony Hopkins (who wasn't interested in playing an American), Gene Hackman (who was taking a break from acting at the time), Jack Nicholson (who wasn't interested, he only wanted to portray Moses), Tommy Lee Jones (who was considered "too young"), Ned Beatty, Michael Caine, Bruce Dern, James Coburn, Charles Durning, Jackie Cooper, Fred Ward, Richard Mulligan, Rod Steiger, Peter Boyle, Lloyd Bridges, Paul Dooley, Pat Hingle, Jonathan Winters, Norman Mailer, George C. Scott, Jerry Falwell, Gore Vidal, Andy Griffith, William F. Buckley, and Ernest Borgnine. The Coens' top choice was Marlon Brando.[16] Charlize Theron was considered for the role of Bunny Lebowski.[17] David Cross auditioned for the role of Brandt.[18]

According to Julianne Moore, the character of Maude was based on artist Carolee Schneemann, "who worked naked from a swing", and on Yoko Ono.[19]^: 156 The character of Jesus Quintana, an opponent of The Dude's bowling team, was inspired in part by a performance the Coens had seen John Turturro give in 1988 at the Public Theater in a play called Mi Puta Vida in which he played a pederast-type character, "so we thought, let's make Turturro a pederast. It'll be something he can really run with," Joel said in an interview.[12]^: 195

The film's overall structure was influenced by the detective fiction of Raymond Chandler. Ethan said, "We wanted something that would generate a certain narrative feeling – like a modern Raymond Chandler story, and that's why it had to be set in Los Angeles ... We wanted to have a narrative flow, a story that moves like a Chandler book through different parts of town and different social classes."[20] The use of the Stranger's voice-over also came from Chandler as Joel remarked, "He is a little bit of an audience substitute. In the movie adaptation of Chandler it's the main character that speaks off-screen, but we didn't want to reproduce that though it obviously has echoes. It's as if someone was commenting on the plot from an all-seeing point of view. And at the same time rediscovering the old earthiness of a Mark Twain."[19]^: 169

The significance of the bowling culture was, according to Joel, "important in reflecting that period at the end of the fifties and the beginning of the sixties. That suited the retro side of the movie, slightly anachronistic, which sent us back to a not-so-far-away era, but one that was well and truly gone nevertheless."[19]^: 170

The Coen Brothers wrote The Big Lebowski around the same time as Barton Fink. When the Coen brothers wanted to make it, John Goodman was filming episodes for Roseanne and Jeff Bridges was making the Walter Hill film Wild Bill. The Coens decided to make Fargo in the meantime.[12]^: 189 According to Ethan, "the movie was conceived as pivoting around that relationship between the Dude and Walter", which sprang from the scenes between Barton Fink and Charlie Meadows in Barton Fink.[19]^: 169 They also came up with the idea of setting the film in contemporary L.A., because the people who inspired the story lived in the area.[21]^: 41 When Pete Exline told them about the homework in a baggie incident, the Coens thought that that was very Raymond Chandler and decided to integrate elements of the author's fiction into their script. Joel Coen cites Robert Altman's The Long Goodbye as a primary influence on their film, in the sense that The Big Lebowski "is just kind of informed by Chandler around the edges".[21]^: 43 When they started writing the script, the Coens wrote only 40 pages and then let it sit for a while before finishing it. This is a normal writing process for them, because they often "encounter a problem at a certain stage, we pass to another project, then we come back to the first script. That way we've already accumulated pieces for several future movies."[19]^: 171 In order to liven up a scene that they thought was too heavy on exposition, they added an "effete art-world hanger-on", known as Knox Harrington, late in the screenwriting process.[22] In the original script, the Dude's car was a Chrysler LeBaron, as Dowd had once owned, but that car was not big enough to fit John Goodman so the Coens changed it to a Ford Torino.[10]^: 93

PolyGram and Working Title Films, which had funded Fargo, backed The Big Lebowski with a budget of $15 million. In casting the film, Joel remarked, "we tend to write both for people we know and have worked with, and some parts without knowing who's going to play the role. In The Big Lebowski we did write for John [Goodman] and Steve [Buscemi], but we didn't know who was getting the Jeff Bridges role."[23] The Coens originally considered Mel Gibson for the role of The Dude, but he didn't take the pitch too seriously.[24][25] Bridges was hesitant to play the role as he was worried that would be a bad example for his daughters, but Jessie convinced him to take it after a neeting.[26] In preparation for his role, Bridges met Dowd but actually "drew on myself a lot from back in the Sixties and Seventies. I lived in a little place like that and did drugs, although I think I was a little more creative than the Dude."[12]^: 188 The actor went into his own closet with the film's wardrobe person and picked out clothes that he had thought the Dude might wear.[10]^: 27 He wore his character's clothes home because most of them were his own.[27] The actor also adopted the same physicality as Dowd, including the slouching and his ample belly.[10]^: 93 Originally, Goodman wanted a different kind of beard for Walter but the Coen brothers insisted on the "Gladiator" or what they called the "Chin Strap" and he thought it would go well with his flattop haircut.[10]^: 32

For the film's look, the Coens wanted to avoid the usual retro 1960s clichés like lava lamps, Day-Glo posters, and Grateful Dead music[21]^: 95 and for it to be "consistent with the whole bowling thing, we wanted to keep the movie pretty bright and poppy", Joel said in an interview.[12]^: 191 For example, the star motif, featured predominantly throughout the film, started with the film's production designer Richard Heinrichs' design for the bowling alley. According to Joel, he "came up with the idea of just laying free-form neon stars on top of it and doing a similar free-form star thing on the interior". This carried over to the film's dream sequences. "Both dream sequences involve star patterns and are about lines radiating to a point. In the first dream sequence, the Dude gets knocked out and you see stars and they all coalesce into the overhead nightscape of L.A. The second dream sequence is an astral environment with a backdrop of stars", remembers Heinrichs.[12]^: 191 For Jackie Treehorn's Malibu beach house, he was inspired by late 1950s and early 1960s bachelor pad furniture. The Coen brothers told Heinrichs that they wanted Treehorn's beach party to be Inca-themed, with a "very Hollywood-looking party in which young, oiled-down, fairly aggressive men walk around with appetizers and drinks. So there's a very sacrificial quality to it."[21]^: 91

Cinematographer Roger Deakins discussed the look of the film with the Coens during pre-production. They told him that they wanted some parts of the film to have a real and contemporary feeling and other parts, like the dream sequences, to have a very stylized look.[21]^: 77 Bill and Jacqui Landrum did all of the choreography for the film. For his dance sequence, Jack Kehler went through three three-hour rehearsals.[10]^: 27 The Coen brothers offered him three to four choices of classical music for him to pick from and he chose Modest Mussorgsky's Pictures at an Exhibition. At each rehearsal, he went through each phase of the piece.[10]^: 64

Actual filming took place over an eleven-week period with location shooting in and around Los Angeles, including all of the bowling sequences at the Hollywood Star Lanes (for three weeks)[28] and the Dude's Busby Berkeley dream sequences in a converted airplane hangar.[20] According to Joel, the only time they ever directed Bridges "was when he would come over at the beginning of each scene and ask, 'Do you think the Dude burned one on the way over?' I'd reply 'Yes' usually, so Jeff would go over in the corner and start rubbing his eyes to get them bloodshot."[12]^: 195 Julianne Moore was sent the script while working on The Lost World: Jurassic Park. She worked only two weeks on the film, early and late during the production that went from January to April 1997,[29] while Sam Elliott was only on set for two days and did many takes of his final speech.[10]^: 46

Joel Coen said that Jeff Bridges was upset there wasn't playback monitor so Bridges made them get a playback monitor at the end of the second week of production.[30]

The scenes in Jackie Treehorn's house were shot in the Sheats-Goldstein Residence, designed by John Lautner and built in 1963 in the Hollywood Hills.[31]

Deakins described the look of the fantasy scenes as being very crisp, monochromatic, and highly lit in order to afford greater depth of focus. However, with the Dude's apartment, Deakins said, "it's kind of seedy and the light's pretty nasty" with a grittier look. The visual bridge between these two different looks was how he photographed the night scenes. Instead of adopting the usual blue moonlight or blue street lamp look, he used an orange sodium-light effect.[21]^: 79 The Coen brothers shot much of the film with wide-angle lens because, according to Joel, it made it easier to hold focus for a greater depth and it made camera movements more dynamic.[21]^: 82

To achieve the point-of-view of a rolling bowling ball the Coen brothers mounted a camera "on something like a barbecue spit", according to Ethan, and then dollied it along the lane. The challenge for them was figuring out the relative speeds of the forward motion and the rotating motion. CGI was used to create the vantage point of the thumb hole in the bowling ball.[29]

The Big Lebowski received its world premiere at the 1998 Sundance Film Festival on January 18, 1998, at the 1,300-capacity Eccles Theater. It was also screened at the 48th Berlin International Film Festival[37][38] before opening in North America on March 6, 1998, in 1,207 theaters. It grossed $5.5 million on its opening weekend, finishing up with a gross of $18 million in the United States, just above its US$15 million budget. The film's worldwide gross outside of the US was $28.7 million, bringing its worldwide gross to $46.7 million.[4]

On review aggregator Rotten Tomatoes, the film holds an approval rating of 80% based on 191 reviews, with an average score of 7.40/10. The website's critics consensus reads, "The Big Lebowski's shaggy dog story won't satisfy everybody, but those who abide will be treated to a rambling succession of comic delights, with Jeff Bridges' laconic performance really tying the movie together."[39] Metacritic, which uses a weighted average, has assigned the film a score of 71 out of 100 based on reviews from 23 critics, indicating "generally favorable reviews".[40] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[41]

Many critics and audiences have likened the film to a modern Western, while many others dispute this, or liken it to a crime novel that revolves around mistaken identity plot devices.[42] Peter Howell, in his review for the Toronto Star, wrote: "It's hard to believe that this is the work of a team that won an Oscar last year for the original screenplay of Fargo. There's a large amount of profanity in the movie, which seems a weak attempt to paper over dialogue gaps."[43] Howell revised his opinion in a later review, and in 2011 stated that "it may just be my favourite Coen Bros. film."[44]

Todd McCarthy in Variety magazine wrote: "One of the film's indisputable triumphs is its soundtrack, which mixes Carter Burwell's original score with classic pop tunes and some fabulous covers."[45] USA Today gave the film three out of four stars and felt that the Dude was "too passive a hero to sustain interest," but that there was "enough startling brilliance here to suggest that, just like the Dude, those smarty-pants Coens will abide."[46]

In his review for The Washington Post, Desson Howe praised the Coens and "their inspired, absurdist taste for weird, peculiar Americana – but a sort of neo-Americana that is entirely invented – the Coens have defined and mastered their own bizarre subgenre. No one does it like them and, it almost goes without saying, no one does it better."[47]

Janet Maslin praised Bridges' performance in her review for The New York Times: "Mr. Bridges finds a role so right for him that he seems never to have been anywhere else. Watch this performance to see shambling executed with nonchalant grace and a seemingly out-to-lunch character played with fine comic flair."[48] Andrew Sarris, in his review for the New York Observer, wrote: "The result is a lot of laughs and a feeling of awe toward the craftsmanship involved. I doubt that there'll be anything else like it the rest of this year."[49] In a five star review for Empire, Ian Nathan wrote: "For those who delight in the Coens' divinely abstract take on reality, this is pure nirvana" and "in a perfect world all movies would be made by the Coen brothers."[50] Roger Ebert of the Chicago Sun-Times gave the film three stars out of four, describing it as "weirdly engaging."[51] In a 2010 review, he raised his original score to four stars out of four and added the film to his "Great Movies" list.[52]

However, Jonathan Rosenbaum wrote in the Chicago Reader: "To be sure, The Big Lebowski is packed with show-offy filmmaking and as a result is pretty entertaining. But insofar as it represents a moral position—and the Coens' relative styling of their figures invariably does—it's an elitist one, elevating salt-of-the-earth types like Bridges and Goodman ... over everyone else in the movie."[53] Dave Kehr, in his review for the Daily News, criticized the film's premise as a "tired idea, and it produces an episodic, unstrung film."[54] The Guardian criticized the film as "a bunch of ideas shoveled into a bag and allowed to spill out at random. The film is infuriating, and will win no prizes. But it does have some terrific jokes."[55]

The Coen brothers have stated that they will never make a sequel to The Big Lebowski.[72] Nevertheless, John Turturro expressed interest in reprising his role as Jesus Quintana,[73] and in 2014, he announced that he had requested permission to use the character.[74] In August 2016, it was reported that Turturro would reprise his role as Jesus Quintana in The Jesus Rolls, a spin-off of The Big Lebowski, based on the 1974 French film Going Places, with Turturro starring, writing, and directing. It was released in 2020.[75] The Coen brothers, although having granted Turturro the right to use the character, were not involved, and no other character from The Big Lebowski was featured in the film.[76]

On January 24, 2019, Jeff Bridges posted a 5-second clip on Twitter with the statement: "Can't be living in the past, man. Stay tuned" and showing Bridges as the Dude, walking through a room as a tumbleweed rolls by.[77] The clip was a teaser trailer for an ad during Super Bowl LIII which featured Bridges reprising the role of The Dude for a Stella Artois commercial.[78][79]

The film has been used as a tool for analysis on a number of issues. In September 2008, Slate published an article that interpreted The Big Lebowski as a political critique. The center piece of this viewpoint was that Walter Sobchak is "a neocon," citing the film's references to then President George H. W. Bush and the first Gulf War.[80]

A journal article by Brian Wall, published in the feminist journal Camera Obscura, uses the film to explain Karl Marx's commodity fetishism and the feminist consequences of sexual fetishism.[81]

In That Rug Really Tied the Room Together, first published in 2001, Joseph Natoli argues that The Dude represents a counter narrative to the post-Reaganomic entrepreneurial rush for "return on investment" on display in such films as Jerry Maguire and Forrest Gump.[82][83][84]

It has been used as a carnivalesque critique of society, as an analysis on war and ethics, as a narrative on mass communication and US militarism and other issues.[85][86][87]