AA.VV.
The Big Lebowski O.S.T

There are films whose success is determined by their soundtracks, films where the soundtrack is even better than the film itself, and others where it falls short.
However, in the case of "The Big Lebowski," the film and the music chosen as its backdrop integrate and blend perfectly.

I must say that "The Big Lebowski" is a film I enjoyed a lot, I generally like the way the Coens paint their characters, even the non-main characters (watch Steve Buscemi's practically mute, but very precious cameo), I like their "black" humor and their comedy, but also their great ability to build bold stories and plots.
Memorable are the performances of Jeff Bridges, as Dude (poorly translated into Italian as Drugo...), a former hippie who drinks white Russians, smokes weed, and tours with Metallica, and the overwhelming John Goodman (who doesn't remember him in "Roseanne"!?), a loyal Coen collaborator (like the aforementioned Buscemi), who in the film plays a Vietnam veteran, lover of bowling, strict rules and guns, (the scene where he prohibits an opponent in a bowling game from scoring a point because he crossed the line, warning him that if he did: "he would enter a valley of tears..." is fantastic).
Equally precious are the performances of Julianne Moore, Mr. Lebowski's daughter and Dude’s lover, an avant-garde artist who paints while suspended from the ceiling, or Jesus-Turturro, a Mexican-origin pedophile, bowling phenomenon, and quick-tongued (?!).

Apart from the film, which I highly recommend to those who haven’t seen it yet, the soundtrack is decidedly well-assorted with a selection where Bob Dylan's folk has a place with "The Man In Me," which accompanies the scene where the Dude flies over Los Angeles or "Just Drop In (to See My Condition Was In)" by Kenny Rogers, inseparably linked to the psychedelic trip where Dude dances with a Julianne Moore in unlikely Viking attire.
There's the blues of Captain Beefheart and his "Her Eyes are a Blue Million Miles" and Elvis Costello with "My Mood Swings," but also the jazz of Nina Simone with "I Got It Bad," world music with Yma Sumac, and even opera with Ilona Steingruber with "Gluck Das Mir Verblieb."
Continuing with the quirky cover of "Hotel California" by the Gipsy Kings, which in the film accompanies the unique and unforgettable appearance of Jesus; the timeless "Looking Out My Backdoor" by Creedence and the folk-country ballad of Townes VanZandt, "Dead Flowers," which closes both the film and the soundtrack.
Clearly, the soundtrack has a special and different meaning for those who have seen the film; for everyone else, I reiterate my advice to watch it... however, the soundtrack in itself remains a mix of songs all pleasant and thoroughly enjoyable.