Film je smjesten u srce Amerike, negdje u tridesetim, i obrce oko trojice odbjeglih osudjenika, koje vodi lik sa prigodnim srednjim imenom Ulysses (Odisej). Everett McGill (Clooney) je nagovorio svoje jarane Delmara i Petea da pobjegnu s njim obecavsi im dio ukradenog blaga koje je sakrio u dolini koja ce uskoro biti poplavljena. Prateci kalup "Odiseje", iako ne doslovno, prvo ce susresti slijepog proroka, koji ce im reci da nece pronaci blago koje traze, vec jedno drugo, mnogo vrijednije blago.

Braca Coen se osjecaju najbolje kad rade sa karikaturama umjesto sa pravim likovima, i nas trio je tesko izuzetak. Dok se njegovi pratioci ne bi bas kvalificirali za clanstvo u Mensi, Everett govori tako elokventno da je to vise nego bizarno, vec je smijesno. Clooney pokazuje veliki komicni potencijal, a scenario mu daje mnostvo materijala, ne samo u izgovorenim rijecima, vec isto tako u pokretima i ponasanju. Njegova opsjednutost izgledom tjera ga da se svaki put probudi istim rijecima: "Moja kosa!"

Tri jarana prolaze kroz neke poznate nevolje - tu je privremeno fatalan susret sa Sirenama, bar za Petea, a nesto kasnije, ekvivalent Kiklopa, Big Dan Teague (Goodman) napadne preostalu dvojicu. Na kraju srecemo Everetovu suprugu Penny (od Penelopa, valjda), koja se vec predala jednom proscu. Coeni su dodali i nekoliko dodatnih dogadjaja koji se odlicno uklapaju. Nasi momci ce sresti mladog crnog gitaristu na istom raskrscu o kojem je pjevao Robert Johnson, te ce kao kvartet pod nazivom The Soggy Bottom Boys snimiti pjesmu koja ce postati hit. Nakratko ce uzivati u drustvu ambicioznog pljackasa banaka i prekinuti sastanak Ku Klux Klana, sve vrijeme gonjeni od misterioznog policajca sa tamnim naocalama.

The Soggy Bottom Boys su samo dio izvrsne muzike, koju jednakim dijelovima cine originalni snimci legendi country muzike kao i modernih folk zvijezda poput Alison Krauss i Emmylou Harris. Coeni koriste soundtrack da naglase atmosferu perioda, ali i da opisu i pomalo ismijavaju muzicku industriju i njenu vezu s politikom, narocito u finalnim scenama.

The movie is set in American heartland, sometime in the 30s, and revolves around three escaped convicts, led by a character whose middle name is conveniently Ulysses. Everett McGill (Clooney) talked his buddies Delmar and Pete into escaping with him by promising them a portion of a stolen treasure he hid in a valley that is soon to be flooded. Following the "Odyssey" mold, although not too strictly, they will first meet a blind seer, who will tell them that they won’t find the treasure they seek, but another, much more valuable treasure.

Coen brothers are most comfortable with caricatures instead of real characters, and our trio is hardly an exception. While his followers wouldn’t exactly qualify for Mensa membership, Everett speaks so eloquently, it’s more than bizarre, it’s funny. Clooney shows great comic potential, and the script gives him plenty of material, not only in spoken words, but also in gestures and behavior. His obsession with his appearance causes him to wake up with the same words every time: "My hair!"

The three amigos go through some familiar hardships – there is a temporarily fatal encounter with the Sirens, at least for Pete, and a little later, the Cyclops-equivalent Big Dan Teague (Goodman) has his way with the remaining two. Finally, we will meet Everett’s wife Penny (as in Penelope, I guess), who already gave in to a suitor. But, the Coens have built in some extra events, and those fit right in. Our guys will meet a young black guitar player on a crossroads, same crossroads Robert Johnson sang of, and as a quartet named The Soggy Bottom Boys, record a song that will become a hit. They will shortly enjoy the company of an ambitious bank robber and interrupt the gathering of the Ku Klux Klan, all the time being chased by a mysterious law enforcement officer in dark sunglasses.

The Soggy Bottom Boys are just a fraction of a remarkable score, made of equal parts vintage cuts and field recordings of country legends and modern folk and bluegrass stars, like Alison Krauss and Emmylou Harris. The Coens will use the soundtrack to emphasize the atmosphere of the period, but also to portray and somewhat ridicule the industry behind the music and its connection with politics, especially in the final scenes.