The movie follows Eddie for a very busy day and a half through his official rounds as the head of physical production for Capitol Pictures Studios, sometime in 1951. The Coen brothers are into belief systems-big and seemingly backward ideas that overcome contradictions with a leap of faith-and “Hail, Caesar!” is full of them, from the very first shot, an image of a sculpted Christ on the crucifix. Hollywood has been ripe for lampooning from the start, but, for all the movie’s incisive humor, the Coens don’t so much mock the movie colony as look on with an unusually benign astonishment at the contrast-only superficially a contradiction-between the absurd wonders of the movies that were made at the time and the even more absurd stories of their making. “Hail, Caesar!” is a comedy, and a scintillating, uproarious one, filled with fast and light touches of exquisite incongruity in scenes that have the expansiveness of relaxed precision, performed and timed with the spontaneous authority of jazz. PHOTOGRAPH BY UNIVERSAL PICTURES / EVERETT George Clooney plays an actor who goes missing in the Coen brothers’ “Hail, Caesar!,” an uproarious exploration of nineteen-fifties Hollywood.

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