A very un-dude reading of The Big Lebowski

Over at Slate, David Haglund attempts to make the case that the Big Lebowski works as an anticipation of the perfidy of the neocons:

Watching The Big Lebowski in 2008, it becomes clear that appreciating Walter is essential to understanding what the Coen brothers are up to in this movie, which is slyer, more political, and more prescient than many of its fans have recognized. Perhaps that’s because Walter, with his bellowing, Old Testament righteousness and his deeply entrenched militarism, is an American type that barely registered on the pop-culture landscape 10 years ago. He’s a neocon.

If that seems like a stretch, consider the traits Walter exhibits over the course of the film: faith in American military might (the Gulf War, he says, “is gonna be a piece of cake”; in the original script, he calls it “a fucking cakewalk“); nostalgia for the Cold War (“Charlie,” he says, referring to the Viet Cong, was a “worthy fuckin’ adversary”); strong support for the state of Israel (to judge from his reverent paraphrase of Theodor Herzl: “If you will it, Dude, it is no dream”); and even, perhaps, past affiliation with the left (he refers knowingly to Lenin’s given name and admits to having “dabbled in pacifism”). Goodman, who has called the role his all-time favorite, seems also to have sensed Walter’s imperialist side. “Dude has a rather, let’s say, Eastern approach to bowling,” he said in an interview. “Walter is strictly Manifest Destiny.”

So, yeah, all the points of comparison do line up kind of conveniently, like Haglund says. But if we’re going to be interpreting the movie this way, why stop with Walter? The entire cast of characters, one could say, represents a skewering of the entire American political landscape. When you start to make pat interpretations, it’s hard to stop: There’s the dude (Sixties radicalism as a spent force), Maude Lebowski (Europhilic coastal elites), Jeffrey Lebowski…the other Jeffrey Lebowski (a straigh-from-central casting, cigar-chomping GOP corporate welfare case), and Donny (the “silent majority” in America’s flyover country, who can’t get a word in edgewise over all the partisan bickering). Indeed you can make a good case for these and many more readings, but by doing so, don’t we lose a little of the magic of the original?

As The Dude himself might put it, “No, you’re not wrong, Haglund. You’re just an asshole.”