The Hudsucker Proxy full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

In December 1958, Norville Barnes, a business college graduate from Muncie, Indiana, arrives in New York City looking for a job. He struggles due to lack of experience and becomes a mailroom clerk at Hudsucker Industries. Meanwhile, the company's founder and president, Waring Hudsucker, unexpectedly commits suicide during a business meeting by jumping out of a top-floor window. Afterwards, Sidney J. Mussburger, a ruthless member of the board of directors, learns Hudsucker's stock shares will be soon sold to the public; he mounts a scheme to buy the controlling interest in the company by temporarily depressing the stock price by hiring an incompetent president to replace Hudsucker.

In the mailroom, Norville is assigned to deliver a "Blue Letter" to Mussburger; the letter is a top-secret communication from Hudsucker, sent shortly before his death. However, Norville takes the opportunity to pitch an invention he's been working on which turns out to be a simple drawing of a circle and his cryptic explanation, "you know, for kids." Believing Norville to be an idiot, Mussburger selects him as a proxy for Hudsucker. Across town, Amy Archer, a brassy Pulitzer Prize-winning reporter for the Manhattan Argus, is assigned to write a story about Norville and find out what kind of man he really is. She gets a job at Hudsucker Industries as his personal secretary, pretending to be yet another desperate graduate from Muncie. One night, Amy searches the building to find clues and meets Moses, a man who operates the tower's giant clock and knows "just about anything if it concerns Hudsucker". He tells her Mussburger's plot, and she takes the story back to her Chief, but he does not believe a word of it.

The other executives decide to produce Norville's invention in hopes that it will flop and depress the company's stock. The invention turns out to be the hula hoop, which initially fails but then turns into an enormous success. Norville allows success to go to his head and becomes yet another uncaring tycoon. Amy, who had fallen for his naive charm, is infuriated over Norville's new attitude and leaves him. Buzz, the eager elevator operator, pitches a new invention: the flexi-straw. Norville dismisses it and fires Buzz. Meanwhile, Aloysius, a Hudsucker janitor, discovers Amy's true identity and informs Mussburger. Mussburger reveals Amy's secret identity to Norville and tells him he will be dismissed as president after the new year. Mussburger also convinces the board that Norville is insane and must be sent to the local psychiatric hospital.

On New Year's Eve, Amy finds Norville drunk at a beatnik bar. She apologizes, but he storms out and is chased by an angry mob led by Buzz, whom Mussburger had convinced that Norville had stolen the hula hoop idea after giving him his elevator job back. Norville escapes to the top floor of the Hudsucker skyscraper and changes back into his mailroom uniform. He climbs out on the ledge, where Aloysius locks him out and watches as he slips and falls off the building at the stroke of midnight. All of a sudden, Moses stops the clock and time freezes. Waring Hudsucker appears to Norville as an angel and tells him the Blue Letter that was supposed to be delivered to Mussburger contains a legal document indicating that Hudsucker's shares would go to his immediate successor, who is now Norville. Moses fights and defeats Aloysius inside the tower, allowing Norville to fall safely to the ground. Norville and Amy reconcile. As 1959 progresses, it is Mussburger who is sent to the asylum while Norville develops a new invention "for kids," an enigmatic circle on a folded sheet of paper that will ultimately turn out to be a frisbee.

Writing

The Coen brothers first met Sam Raimi when Joel Coen worked as an assistant editor on Raimi's The Evil Dead (1981). Together, they began writing the script for The Hudsucker Proxy in 1981, and continued during the filming of Crimewave (1985), and post-production on Blood Simple (1985), in which Joel and Ethan Coen shared a house with Raimi. The Coens and Raimi were inspired by the films of Preston Sturges, such as Christmas in July (1940) and the Hollywood satire, Sullivan's Travels (1941). The sentimental tone and decency of ordinary men as heroes was influenced by films of Frank Capra, like Mr. Deeds Goes to Town (1936), Meet John Doe (1941), and It's a Wonderful Life (1946). The dialogue is an homage to Howard Hawks' His Girl Friday (1940), while Jennifer Jason Leigh's performance as fast-talking reporter Amy Archer is reminiscent of Rosalind Russell and Katharine Hepburn, in both the physical and vocal mannerisms. Other movies that observers found references to include Executive Suite (1954) and Sweet Smell of Success (1957). The brothers had no intention commenting on or parodying such movies, instead as Ethan said "It's the case where, having seen those movies, we say 'They're really fun - let's do one'; as opposed to 'They're really fun- let's comment upon them.'" Raimi describes the script as "big-business comedy. It's a return to the very large love story comedies they used to make in the forties and early fifties." So the brothers started to pace around their apartment, taking turns on the typewriter, and when they found themselves stuck at a point, Raimi would do all sorts of tricks to get the boys back up. For example, while Ethan is pacing around, he would move things around the apartment so Ethan would be thrown off, he even said he threw firecrackers at them.

One film critic described the numerous influences: "From his infelicitous name to his physical clumsiness, Norville Barnes is a Preston Sturges hero trapped in a Frank Capra story, and never should that twain meet, especially not in a world that seems to have been created by Fritz Lang – the mechanistic monstrousness of the mailroom contrasted with the Bauhaus gigantism of the corporate offices perfectly matches the boss-labour split in Metropolis (1927)." An interviewer proposed that the characters represent capitalism versus labour economics. Joel Coen replied: "Maybe the characters do embody those grand themes you mentioned, but that question is independent of whether or not we're interested in them – and we're not." The Hudsucker Proxy presents various narrative motifs pertaining to the Rota Fortunae and visual motifs concerning the shape of circles. This includes Moses' monologue at the beginning, the Hudsucker Clock, Mussburger's wristwatch, the inventions of both the hula hoop and frisbee, as well as Norville and Amy's conversation about Karma.

The first image the Coens and Raimi conceived was of Norville Barnes about to jump from the window of a skyscraper and then they had to figure out how he got there and how to save him. The inclusion of the hula hoop came as a result of a plot device. Joel remembers, "We had to come up with something that Norville was going to invent that on the face of it was ridiculous. Something that would seem, by any sort of rational measure, to be doomed to failure, but something that on the other hand the audience already knew was going to be a phenomenal success." Ethan said, "The whole circle motif was built into the design of the movie, and that just made it seem more appropriate." Joel: "What grew out of that was the design element which drives the movie. The tension between vertical lines and circles; you have these tall buildings, then these circles everywhere which are echoed in the plot...in the structure of the movie itself. It starts with the end and circles back to the beginning, with a big flashback." It took the Coens and Raimi three months to write the screenplay. As early as 1985, the Coens were quoted as saying that an upcoming project "takes place in the late Fifties in a skyscraper and is about Big Business. The characters talk fast and wear sharp clothes."

Despite having finished the script in 1985, Joel explained, "We couldn't make Hudsucker back then because we weren't that popular yet. Plus, the script was too expensive and we had just completed Blood Simple, which was an independent film." After completing Barton Fink (1991), the Coens were looking forward to doing a more mainstream film. The Hudsucker Proxy was revived and the Coens and Raimi performed a brief rewrite. Producer Joel Silver, a fan of the Coens' previous films, acquired the script for his production company, Silver Pictures, and pitched the project at Warner Bros. Pictures. Silver also allowed the Coens complete artistic control.

Production

This was the first time the Coen brothers chose big stars to act in their movie. Joel Silver's first choice for Norville Barnes was Tom Cruise, but the Coens persisted in a desire to cast Tim Robbins. Winona Ryder and Bridget Fonda were in competition for the role of Amy Archer before Jennifer Jason Leigh was cast. Leigh had previously auditioned for a role in the Coens's Miller's Crossing and Barton Fink. Her failed auditions prompted the Coens to cast her in The Hudsucker Proxy. To prepare for her role as Amy Archer, Leigh read the biographies of some of the most substantial ladies of the thirties and forties such as, Rosalind Russell, Katharine Hepburn and Jean Arthur. When casting the role of Sidney Mussburger, "Warner Bros. suggested all sorts of names," remembered Joel. "A lot of them were comedians who were clearly wrong. Mussburger is the bad guy and Paul Newman brought that character to life." However, the Coens first offered the role to Clint Eastwood, but he was forced to turn it down due to scheduling conflicts.

Once Newman and Robbins signed on, PolyGram Filmed Entertainment and Working Title Films agreed to co-finance the film with Warner Bros. and Silver Pictures. The film was shot on five sound stages at Carolco Studios in Wilmington, North Carolina beginning on November 30, 1992. Raimi served as second unit director, shooting the hula hoop sequence and Waring Hudsucker's suicide. Production designer Dennis Gassner was influenced by fascist architecture, particularly the work of Albert Speer, as well as Terry Gilliam's Brazil (1985), Frank Lloyd Wright and the Art Deco movement. Gassner contemplated using five huge rooms needed to accommodate the sound stages. Gassner noted "You see, we wanted things to be big." He said that the huge 1950's-inspired table up in the boardroom was so long, it had to be built in five sections and later on assembled on the soundstage. The intention for the set sizes was to generate an oppressive feel. Principal photography ended on March 18, 1993.

In addition, numerous sequences were filmed in downtown Chicago, particularly i