In short, the Coen Brothers are just damn weird; but because their inspiration and artistic styles come way out of left field, audiences consistently consider their works of art as revolutionary and avant-garde, with their films adored by millions. With the Hudsucker Proxy, I feel the Coen Brothers had their sights set on a lighter-sided comedy, much as Hudsucker Proxy is, but along the stretch of production too many external sources snuck in and changed or added the film, just enough for the audience to feel the presence of the studio industry as they watch the film. I feel bringing in a star actor like Tim Allen was a mistake but a necessity to receive studio support; but that’s not the Coen style, which is search diligently for an individual [famous star or a nobody] that fits the mold of the character they’ve designed in their script. While there are elements blatantly decorated with the Coen Brother style, [boss jumping out the window] while other parts of the script are borderline cookie cutter, as it’s unlike the Coen Brothers to add a fully predictable and cliché love plot. The thing with the clock keeper and evil repairman felt like a last minute addition by a third party to just quickly patch the ending together without having to give any explanation, just as dream sequences are often referred to as filler. The resolution to Mussburger’s story felt shallow and forced-moralistic; the greedy guy finally gets punished, and somehow sending him to an asylum finishes the studio-storybook fairytale.
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