Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
There's only one thing stranger than what's going on inside his head. What's going on outside.
A renowned New York playwright is enticed to California to write for the movies and discovers the hellish truth of Hollywood.
If the Coen Brothers' "Inside Llewyn Davis" is a portrait of the artist as eternal wanderer, then their "Barton Fink" is a portrait of the artist as eternally distracted. It is, that is, until it becomes an indictment of soulless, brainless Hollywood product that then turns turns into a Faustian Los Angeles-is-hell allegory before returning to its meditation on the artist. To be sure, "Barton Fink" has a lot on its narrative plate. Although that mix of ideas, metaphors, symbols, and plot threads can be a little much, the film is an engrossing and inspired piece of work.
Barton Fink is a New York playwright who heeds the siren song of movie-writing and moves to Hollywood. "Barton Fink" is his…
Barton Fink is packed full of symbolism, allegory, and open-ended questions. About one man's struggles as a screenwriter in Hollywood, the film is at once realism and surrealism; comedy and tragedy. Willing you to discern meaning behind images and lines, Joel and Ethan Coen tease the viewer with a multitude of possible interpretations of their story and its characters. Littered with references to other films, novels, and poems, the viewing experience is overwhelming but rewarding.
With exhilarating performances from John Turturro, John Goodman, Michael Lerner, and Judy Davis, this is very much a character driven piece. Exploring the "life of the mind" from different angles, we are introduced to a variety of characters, each with their own issues and secrets.…
"You're just a tourist with a typewriter. I live here."
Easy Barton Fink primer:
A self-absorbed NYC playwright lauds the virtue of the common man all while remaining deaf to others; his lack of empathy lands him in a Hollywood hell.
With hints of an allegory about US isolationist policies (and some nasty business with fluids).
Ingeniously written and directed by the Coen Brothers, Barton Fink is set in 1941, initially in New York. It follows the playwright who is filled with social concerns, Barton Fink, who was a big hit on Broadway and immediately calls the attention of Tinseltown. Hired by Hollywood to write a wrestling film, Barton swaps the pollution of the city for the stardom of the movies.
When Federico Fellini had no idea on what to do with his next film, he created 8½, which portrayed an out-of-ideas director who didn't know what to do with his next film. When the Coen Brothers had no idea on what to do with their next film, they created Barton Fink, which portrays an out-of-ideas…
It has been almost twenty years since I saw Barton Fink. Back then in my early twenties I obviously missed something. I seem to remember it leaving me a little muddled and confused, and with this film coming fairly soon after my favorite Coen's film, Miller's Crossing, I was a little underwhelmed. I'd like to think my tastes have matured a bit since then and as I listed my Coen Brothers ranking last night, I was surprised at the reaction to my low rating for this. Rewatches especially after a long time can be beneficial, so imagine my surprise when I awoke after night-shift to find this just starting on Sky Movies.
While still not as appreciated as Miller's Crossing…
Being a big fan of most of the Coen Brothers films I've seen, I decided it's time I get on finishing their canon. Barton Fink along with Intolerable Cruelty are the last two I needed to see. I've put off the latter due to word of mouth stating it's probably their worst film along with The Ladykillers, the only film of theirs I've seen that I didn't at least like. When it comes to this film I was just waiting until I had access to it, and that access finally came in the form of Netflix streaming. Barton Fink is trademark Coens. Dark humor, satire, great performances, and it this case a pretty twisted and unsettling narrative.
Renowned New York…
Am I cooler on this film than most poeple? I guess so. I've seen it three times now. I like it. But I think if Barton was a bit more lovable it could be a better film. From the start he's set up as a pretentious egghead who needs to be taken down a peg. So it's hard to not enjoy his comeuppance/suffering for at least the next twenty minutes or so.
Jesus Christ. I've got a handful of movies I still need to see from the Coens but ranking them is going to be unnecessary and difficult. I'll be surprised if Barton Fink doesn't stick in the upper quartile. Most Coen Bros. movies have absurd humor (okay, all of them) and jet-black subject matter but, for my money, Barton Fink manages that tightrope act more assuredly than some of their better-known work.
To try to put it into words would both expose my weakness as a writer and do a disservice to their impeccable work here. All I know is that I hardly laugh out loud when I watch movies (even ones I describe as "funny") and I was dying throughout.…
A classic satire of Hollywood with plethora of idiosyncratic characters and situations.
Crear significa vivir en el infierno. Siempre observando el mundo como debería ser, no como es, el creador se mantiene haciendo equilibrios de forma constante; no es sólo que cualquiera pueda criticar su obra, sino que el propio ego del artista puede alejarlo de la realidad. De nada sirve crear algo que no toma el pulso al mundo, que sea el puro genio del artista: si no comunica nada, ¿a quién le importa una opinión por muy bien construida que esté?
Eso es Barton Fink. Película, personaje: metáfora. Y por eso resulta especialmente irónico que los diez últimos minutos sean los hermanos Coen gustándose demasiado: caen en aquello que representan.
He ahí el infierno del artista. Siempre de visita, siempre muerto en su propia autoindulgencia.
The deeper meanings and values presented within this film are astouding, small details that can mean such huge things compared against the story, it's not just a simple story of a man struggling to write a movie, it's a tale of a man being dragged through literal hell, being emotionally beaten up to a breaking point that causes him to snap out of whatever kind of mania he is experiencing and finishing something he started. When it's thrown back in his face all he can do is walk away, leave as if nothing happened and take long walk down the beach, finding himself in the living version of a painting he admired when attempting to write his film. The picture he took inspiration from is now real life.
He is his own inspiration.
Qué bien, pero qué bien.
El ambiente, los personajes, sus historias, lo que intenta tratar, TODO es una maravila.
Lo único malo es que me costó entrar en la película.
Before NO COUNTRY FOR OLD MEN, BARTON FINK was the closest that the Coen brothers had ever come to making a horror film. Certainly, it's their darkest, strangest, grimmest film. It's also one of their very best.
John Turturro stars as the title character, a pompous New York playwright who is persuaded to seek easy money and acclaim as a writer-for-hire in Hollywood. In BARTON FINK, Hollywood seems to be located somewhere between purgatory and the Twilight Zone, and the gloomy hotel where Turturro lives may be the creepiest hotel on screen since THE SHINING.
Turturro is excellent as always, but it's John Goodman who really steals the show, as Barton's neighbor at the fleabag hotel. He's always jovial in a John Goodman sort of way, but there's just something a little...sinister about him, isn't there?
A beautiful film with great acting that's a bit slighter than it seems to think it is.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
A big collection of films that might be considered as strange, mindfucking, surreal and weird. Sorted by year. Suggestions are…