Despite its black-humour appearance， the lighthearted mockery tone and the deliberate vulgarity in dialogues， I really see The Big Lebowski as a conscious denial and rejection of the American post-war identity.At the beginning of the film， the unknown narrator states that the story takes place in the 90s when the Iraq War goes on overseas of the US. Neither the importance of this time frame nor the identity of the narrator is revealed to the audience， and as the film unfolds， it becomes clear that these information is in fact irrelevant. The Iraq War background is no more crucial to the development of the story than the random old man the Dude met in the bowling stadium， who only reveals himself to be the narrator in the very end.The film saturates American reality to an extent， through its portrayal of non-black/white racial and cultural stereotypes and conflicts， as well as superficial class distinctions. It presents caricature-like characters， such as the rich and merciless Lebowski， the rebellious and promiscuous teenager Bunny， the educated and artsy feminist Maude， the Latino child sex-offender， and the German nihilists--who are called antisemitic and effectivelyNazisby Walter， who insists on being a Jew. However， the film refuses to attribute these characteristics to the post-war or indeed the Iraq War factor. The very act of indicating the time frame of the narrative is in fact， the act of un-establishing the potential association between the two， and refusing these characters asproducts of their time .The most straightforward evidence is Walter and his obsessive need to relate everything to the Vietnam war. As the Dude so rightly said：Why the fuck does anything have to do with Vietnam？Walter keeps reminiscing the Vietnam war and constantly suggests its effects in current American society， but the examples he chooses are so hilariously irrelevant--such as him shouting in a diner and asked to leave--that they become a self-conscious mockery of the way in which Americans try to define their reality by diagnosing it as post-war syndromes. When Walter explains to the Dude that he converted to Judaism after his marriage with his Jewish wife whom he divorced 5 years ago， the Dude points out to Walter that he isliving in the fucking past . This can be seen as representative of a post-war stubbornness to dwell in memories and a reluctance to move on.In this light， the end-title song Dead Flowers may well be a reference to the peace-advocatingflower childrenof the 60s during the Vietnam war. The flowers are dead and gone； life goes on.
勒保斯基（杰夫·布里吉斯 Jeff Bridges 饰）绰号“督爷”，是个无所事事的中年混混，终日最大的消遣就是和两个同样无能的朋友沃特（约翰·古德曼 John Goodman 饰）和多尼（斯蒂夫·巴斯米 Steve Buscemi 饰）打保龄球。一日，一群打手把他错认成城里和他同名同姓的那个百万富翁加以威胁，临走还尿在他的地毯上。平白无故吃亏的督爷只好跑去找那个富翁（戴维·哈德莱斯顿 David Huddleston 饰）赔偿，未果后自作主张偷了富翁一块地毯。几日后富翁又把督爷找去帮忙，因其年轻妻子邦妮（塔拉·雷德 Tara Reid 饰）遭到绑架，督爷被要求帮忙送赎金给绑匪，就此和两个朋友一起卷入一场哭笑不得的犯罪事件……