It took me a long time to come around to the “Cult of Lebowski."
I recall when the film was released, I was in my early twenties. I didn’t quite understand the appreciation of the film back then. It was particularly embraced by college students.
A friend and co-worker around the time the film was first released loved the movie, saw it for a future masterpiece-and, though a professed teetotaler, would order White Russians (a signature drink of the protagonist in the film) at bars when I hung out with him. This man was a “hipster,” though we didn’t really use that terminology back in those days. I think the fact that he liked the film so much, became a reason for me to dislike said movie. I’ve always had a natural aversion to anything that is popular, in the mainstream or underground, *UNLESS* I discover said thing myself, without help.
Though I don't always agree with the philosophies behind their movies, particularly when they conflict with the tenets of my faith (see-major plot points of Searching for Llewyn Davis, etc.) I make it a point to watch the Coen brothers movies when the opportunities present themselves.
When I first saw the movie, I didn't know what to make of it. I thought there was a lot (in fact, way too much) profanity. And I didn't really "get" the humor.
I also thought the film thin on plot, and overly preoccupied with quirky characterizations.
Now, in my forties, I think I can relate to the film on a deeper level. Particularly, I relate to the central character of The Dude more than I ever thought possible.
The Dude is very mellow and laid-back. Though he's unemployed, he did go to college, and he was involved in activist causes. He is thought a fool by those who don't know him well enough, and judge him on appearance. He's much smarter than folks give him credit, and he has a knack for being underestimated by friends and adversaries alike.
The plot begins as follows: The movie takes place in the early 1990s, around the time of Operation Desert Storm. In a case of mistaken identity, The Dude is ambushed at home by a couple of goons, who soil one of his few prized possessions (his living room rug) and dunk his head in his own toilet, whilst breaking the Dude's recently procured bottle (alcohol?) near his head. The goons have confused The Dude with a man with the same legal name, Jeffrey Lebowski (David Huddleston) the "Big Lebowski" of the title, whose wife owes their boss, porn producer Jackie Treehorn (Ben Gazarra) money. Realizing their mistake, they leave without so much as an apology. The dude is left to ruminate on the strange confrontation with his friends and bowling buddies-Vietnam vet and gun afficionado Walter Sobchak (John Goodman) and Donny (a bullied surfer, played by Steve Buschemi.)
The Dude is convinced by Walter to pay a visit to the other Jeffrey Lebowski, to ask for compensation for his ruined rug (in their minds, the Big Lebowski is responsible for the damage, since it *his* rug the goons had meant to urinate upon!) Thus begins a comedic odyssey full of more twists and turns, and crazy characters than one can shake a stick at.
I decided to write about The Big Lebowski in my religious, as opposed to my secular movie blog, because I notice some strong parallels between certain characters in the film, and major figures/archetypes of Catholic Christian theology. The film has enough depth to write more on other observations in my secular bog, which I will undoubtedly do at some point.
However, as far as religion, the focus of *this* blog, is concerned: much has been written/said about the connection between the philosophy of central protagonist Jeffrey “The Dude” Lebowski (Jeff Bridges) and Zen Buddhist philosophy.
However, what is more interesting to me are the strong similarities between The Dude, and Jesus Christ. Further, I notice a connection between “The Stranger” (Sam Elliot) narrator of the film, and the Almighty God. And then there is the interchangeability of the “other” Jeffrey Lebowski (David Huddleston) the "Big Lebowski" of the title, and Satan/the Enemy/the Adversary. There is a Jesus by name in the film as well-Jesus Quintana (John Turturro) who is actually more of an Anti-Christ.
Like Jesus Christ in the New Testament, The Dude is respected and loved by a small circle of friends. Like Christ, he is disrespected by those who don’t know who he really is. The Dude is attacked without provocation in his small abode, humiliated, his meager possessions in his house vandalized.
The Dude does not have respect for phony authority figures (who also lack respect for him) and like Christ, adheres to a philosophy of do-unto-others.
Though I don’t agree with all the main points posited by the author, most of the significant parallels between The Dude and Christ can be found in this interesting book excerpt: https://www.popmatters.com/165034-takin-it-easy-for-us-sinners-the-dude-and-jesus-christ-2495800788.html
The Christ-like allegory is not a perfect fit: The Dude is not averse to recreational drug/alcohol use, practicing unmarried sex, or totally immune to avarice. Still, there are enough commonalities to justify a comparison.
Additionally, I notice some strong parallels between the character of "The Stranger" (Sam Elliot) and God the Father:
Additionally, I notice some strong parallels between the character of "The Stranger" (Sam Elliot) and God the Father:
-Both are omniscient
-Both are good
-Both dislike cursing
-Both are philosophical
-Both are portrayed in film/artistic renderings as old/gray
-Both are storytellers
-The Stranger has an almost paternal, or at least, friendly attitude towards The Dude; likewise, God has his own son, Jesus Christ
-God has been cited by believers as a reason to eschew alcohol-for instance, belief
in a "Higher Power" by those in Alcoholics Anonymous. The Stranger drinks Sarsaparilla, a non-alcoholic beverage
And so on and so on...
Conversely, "The Big Lebowski", Jeffrey Lebowski, the wheelchair-bound millionaire, is a stand-in for Satan.
Lebowski is a fraud, like the Devil. He pretends to be a bigger deal than he is in reality. He's all about self-promotion, and deception. We find out later in the movie via his daughter Maude (Julianne Moore) that all Lebowski's money comes from his wife. Lebowski shames others, particularly The Dude, for not being what he himself misleadingly pretends to be-a self-made boot-strapper.
Lebowski finds a dupe (The Dude) who he believes nobody will miss, to take the fall for his crimes. There is a connection here between what the Big Lebowski does, and what The Dark One did in utilizing Judas Iscariot for his own nefarious schemes.
Oddly enough, there is a character specifically named "Jesus"-here, Jesus Quintana-in The Big Lebowski. This character is nothing like the biblical Jesus Christ and, if anything, is an exact opposite. The character can thus be considered an Anti-Christ stand-in.
Jesus Christ is known for such quotes as "Let the children come to me" (Matthew 19:14) and "Truly I say to you, unless you are converted and become like children, you will not enter the kingdom of Heaven" (Matthew 18:3.)
Quintana's relationship with the subject of children is completely opposite-he is specifically mentioned by Walter as being a pederast, and a registered sex offender. We also see a fantasy sequence of Quintana going door-to-door, to inform his neighbors of said-registered status.
The character of Quintana is meant to be a comedic one, though it is hard in today's day and age of sexual misconduct scandals to find much humor in this characterization. I can deal without him in the movie. It's definitely an element in this film that has not aged well. Particularly troublesome, is the fact that a spin-off movie featuring the character has been filmed and produced.
Despite a character like Quintana, Catholic Christian viewers, and other persons of faith can still find many aspects to enjoy and admire in The Big Lebowski. I still cringe at the overuse of profanity and, at times, distorted views of sexuality presented in the movie. I would advise that the film has a limited audience for those willing to overlook its flaws, to appreciate the cinematic merit that the movie brings to the table.
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