list http://www.spout.com/ Recent community activity around Barton Fink on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Barton_Fink/2379/default.aspx Title: Barton Fink
Year: 1991
Director: Joel Coen
Plot: The title character, played by John Turturro, is a Broadway playwright, based on Clifford Odets, lured to Hollywood with the promise of untold riches by a boorish studio chieftain (played by Michael Lerner as a combination of Louis B. Mayer and Harry Cohn). Despising the film capital and everything it stands for, Barton Fink comes down with an acute case of writer's block. He is looked after by a secretary (Judy Davis) who has been acting as a ghost writer for an alcoholic screenwriter (John Mahoney, playing a character based on William Faulkner). Also keeping tabs on Fink is a garrulous traveling salesman (John Goodman), the most likeable, stable character in the picture. And then comes the plot twist to end all plot twists, plunging Barton Fink into a surreal nightmare that would make Hieronymus Bosch look like a house painter. Once more, Ethan and Joel Coen serve up a smorgasbord of quirkiness and kinkiness, where nothing is what it seems and nothing turns out as planned. ~ Hal Erickson, All Movie Guide
Times Tagged: 54
Number of Lists: 59
Number of blog posts: 8
Number of discussion threads: 12
SpoutRating: 4
]]>Mon, 27 Jul 2009 18:56:56 GMTBarton Fink1991Joel CoenThe title character, played by <a href="/players/P___114771/default.aspx" style='text-decoration:underline'>John Turturro</a>, is a Broadway playwright, based on <a href="/players/P___104944/default.aspx" style='text-decoration:underline'>Clifford Odets</a>, lured to Hollywood with the promise of untold riches by a boorish studio chieftain (played by <a href="/players/P____41931/default.aspx" style='text-decoration:underline'>Michael Lerner</a> as a combination of Louis B. Mayer and <a href="/players/P____85449/default.aspx" style='text-decoration:underline'>Harry Cohn</a>). Despising the film capital and everything it stands for, Barton Fink comes down with an acute case of writer's block. He is looked after by a secretary (<a href="/players/P____17373/default.aspx" style='text-decoration:underline'>Judy Davis</a>) who has been acting as a ghost writer for an alcoholic screenwriter (<a href="/players/P____44655/default.aspx" style='text-decoration:underline'>John Mahoney</a>, playing a character based on <a href="/players/P____89444/default.aspx" style='text-decoration:underline'>William Faulkner</a>). Also keeping tabs on Fink is a garrulous traveling salesman (<a href="/players/P____27679/default.aspx" style='text-decoration:underline'>John Goodman</a>), the most likeable, stable character in the picture. And then comes the plot twist to end all plot twists, plunging Barton Fink into a surreal nightmare that would make Hieronymus Bosch look like a house painter. Once more, Ethan and <a href="/players/P____85375/default.aspx" style='text-decoration:underline'>Joel Coen</a> serve up a smorgasbord of quirkiness and kinkiness, where nothing is what it seems and nothing turns out as planned. ~ Hal Erickson, All Movie Guide54Tag Target (>10)598124http://www.spout.com/ProductImages/t30828hryvd.jpghttp://www.spout.com/films/Barton_Fink/2379/default.aspxFilm http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_April_20_Abducted/625/41807/1/ShowPost.aspx Post By: Risselada
Post To: Weekly Theme
Post Date: 4/27/2009 12:30:03 PM
Body: [quote user="leeroy711"] Well it seems lots of other people liked it but I thought Taken was really rather weak. But we can talk about it anyway because it fits the theme. On of the most drastic differences between the quality of an original film and it's remake has got to be Spoorles and The Vanishing. Unfortunately for me, I had the misfortune of seeing the remake first, which kinda ruined the original for me. So far my favorite Kurosawa film is still High and Low, which is a gripping story about a kidnapping and ransom of a young boy. Everyone should watch this film. It works on pretty much every level imaginable. The cinematography is absolutely brilliant. And y'all know by now that I can't talk about kidnapping (or any other theme) without bringing up the Brothers Coen. These guys have somewhat of a kidnapping trilogy of sorts with Raising Arizona, Fargo and The Big Lebowski. These films together raise the most important question: If you were kidnapped, who would you rather have looking for you. [/quote] You are right, the Coens are the kings of kidnapping movies. And more in general their films usually involve some kind of scheme for getting money, if not kidnapping, then some kind of ransom, blackmail, heist, scheme, robbery, etc... In fact, looking over their filmography, the only movie of the 13 they have directed that doesn't involve something like this that I can think of is Barton Fink. And even that I think has some element of businessmen trying to manipulate for more money. I would be surprised if their next film A Serious Man doesn't feature someone attempting to scheme for huge sums of money, even though the descriptions of it make no mention of anything like that. Spoorloos is a great mention in this category! I think I will avoid seeing the remake ever. Doesn't sound like there is any reason to. When mentioning that movie I always have to mention that the music at the end is probably the creepiest music I've ever heard. Also, the bad guy is so identifiable, to me at least. I am always wondering what would happen if I took that step from imagining these occasional strange compulsions in my head to actually doing them! Not that I think I ever will, but maybe that's why this movie is good to watch. Have you seen Buffalo '66? That is one of the stranger kidnappings in a film. You almost start to forget she was actually kidnapped after a while.
]]>Mon, 27 Apr 2009 16:30:03 GMTRisseladaWeekly Theme4/27/2009 12:30:03 PM[quote user="leeroy711"] Well it seems lots of other people liked it but I thought Taken was really rather weak. But we can talk about it anyway because it fits the theme. On of the most drastic differences between the quality of an original film and it's remake has got to be Spoorles and The Vanishing. Unfortunately for me, I had the misfortune of seeing the remake first, which kinda ruined the original for me. So far my favorite Kurosawa film is still High and Low, which is a gripping story about a kidnapping and ransom of a young boy. Everyone should watch this film. It works on pretty much every level imaginable. The cinematography is absolutely brilliant. And y'all know by now that I can't talk about kidnapping (or any other theme) without bringing up the Brothers Coen. These guys have somewhat of a kidnapping trilogy of sorts with Raising Arizona, Fargo and The Big Lebowski. These films together raise the most important question: If you were kidnapped, who would you rather have looking for you. [/quote] You are right, the Coens are the kings of kidnapping movies. And more in general their films usually involve some kind of scheme for getting money, if not kidnapping, then some kind of ransom, blackmail, heist, scheme, robbery, etc... In fact, looking over their filmography, the only movie of the 13 they have directed that doesn't involve something like this that I can think of is Barton Fink. And even that I think has some element of businessmen trying to manipulate for more money. I would be surprised if their next film A Serious Man doesn't feature someone attempting to scheme for huge sums of money, even though the descriptions of it make no mention of anything like that. Spoorloos is a great mention in this category! I think I will avoid seeing the remake ever. Doesn't sound like there is any reason to. When mentioning that movie I always have to mention that the music at the end is probably the creepiest music I've ever heard. Also, the bad guy is so identifiable, to me at least. I am always wondering what would happen if I took that step from imagining these occasional strange compulsions in my head to actually doing them! Not that I think I ever will, but maybe that's why this movie is good to watch. Have you seen Buffalo '66? That is one of the stranger kidnappings in a film. You almost start to forget she was actually kidnapped after a while. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_March_23_Hotels_Motels_Inns/625/41239/1/ShowPost.aspx Post By: Risselada
Post To: Weekly Theme
Post Date: 3/25/2009 2:01:25 PM
Body: The first movie I thought of was a movie I've only seen about five minutes of, Wim Wenders' The Million Dollar Hotel. Has anyone here seen all of it? [quote user="leeroy711"] Barton Fink and Dirty Pretty Things are a couple of my faves that I think everyone should take a gander at. The hotel in Barton Fink is pretty much a character itself.[/quote] [quote user="mercurial"] Undoubtedly my favorite film taking place in a hotel is The Shining. From beginning to end I love every frame of this flick.[/quote] [quote user="mercurial"] Fear and Loathing in Las Vegas was a non-stop romp from hotel to hotel, trashing each room beyond all recognition.[/quote] These are some of my favorites as well! Good selections! Fear and Loathing really allows me to live out my vicarious experience of totally trashing a hotel room along with the fear accompanying such manic behavior without actually putting myself in danger. Has anyone seen. I would also like to mention Mystery Train from the great Jim Jarmusch! Several different stories all taking place around the same time in a hotel. Another funny one with multiple stories in different rooms in the same hotel, each story done by a different director is Four Rooms. It gets better as it goes. Hotel Rwanda is another obvious one with the name in the title. Hotels often being ominous places in movies I've found, this one is actually a sort of sactuary (although still dangerous) Although if you really want to get away and relax, take a trip with Monsieur Hulot on his holiday with a resort hotel full of quirky people. Or just scam your way into a luxery New York hotel with a tape recorded and some of your dad's credit cards like Kevin McCallister did in Home Alone 2. Bergman's The Silence takes place entirely within a hotel as well I believe. Hotels in movies are often interesting little microcosms. Sometimes these microcosms are seen in apartment complexes as well. Has anyone seen The Decalogue?
]]>Wed, 25 Mar 2009 18:01:25 GMTRisseladaWeekly Theme3/25/2009 2:01:25 PMThe first movie I thought of was a movie I've only seen about five minutes of, Wim Wenders' The Million Dollar Hotel. Has anyone here seen all of it? [quote user="leeroy711"] Barton Fink and Dirty Pretty Things are a couple of my faves that I think everyone should take a gander at. The hotel in Barton Fink is pretty much a character itself.[/quote] [quote user="mercurial"] Undoubtedly my favorite film taking place in a hotel is The Shining. From beginning to end I love every frame of this flick.[/quote] [quote user="mercurial"] Fear and Loathing in Las Vegas was a non-stop romp from hotel to hotel, trashing each room beyond all recognition.[/quote] These are some of my favorites as well! Good selections! Fear and Loathing really allows me to live out my vicarious experience of totally trashing a hotel room along with the fear accompanying such manic behavior without actually putting myself in danger. Has anyone seen. I would also like to mention Mystery Train from the great Jim Jarmusch! Several different stories all taking place around the same time in a hotel. Another funny one with multiple stories in different rooms in the same hotel, each story done by a different director is Four Rooms. It gets better as it goes. Hotel Rwanda is another obvious one with the name in the title. Hotels often being ominous places in movies I've found, this one is actually a sort of sactuary (although still dangerous) Although if you really want to get away and relax, take a trip with Monsieur Hulot on his holiday with a resort hotel full of quirky people. Or just scam your way into a luxery New York hotel with a tape recorded and some of your dad's credit cards like Kevin McCallister did in Home Alone 2. Bergman's The Silence takes place entirely within a hotel as well I believe. Hotels in movies are often interesting little microcosms. Sometimes these microcosms are seen in apartment complexes as well. Has anyone seen The Decalogue? http://www.spout.com/groups/Weekly_Theme/Weekly_Theme_for_March_23_Hotels_Motels_Inns_an/625/41232/1/ShowPost.aspx Post By: leeroy711
Post To: Weekly Theme
Post Date: 3/24/2009 9:46:21 PM
Body: Sorry for the late entry y'all. I've been working out of town a lot lately and my hotel's internet wasn't working very well. Thus spawning a great......well, adequate idea for this week's theme. How about all those films that take place in or around a hotels, motels, inns, b&b's or lodges. Psycho scared the hell out of people when it came out. Barton Fink and Dirty Pretty Things are a couple of my faves that I think everyone should take a gander at. The hotel in Barton Fink is pretty much a character itself. There's actually quite a few right off the top of my head, but I'll check in with y'all later....... Enjoy your stay.
]]>Wed, 25 Mar 2009 01:46:21 GMTleeroy711Weekly Theme3/24/2009 9:46:21 PMSorry for the late entry y'all. I've been working out of town a lot lately and my hotel's internet wasn't working very well. Thus spawning a great......well, adequate idea for this week's theme. How about all those films that take place in or around a hotels, motels, inns, b&amp;b's or lodges. Psycho scared the hell out of people when it came out. Barton Fink and Dirty Pretty Things are a couple of my faves that I think everyone should take a gander at. The hotel in Barton Fink is pretty much a character itself. There's actually quite a few right off the top of my head, but I'll check in with y'all later....... Enjoy your stay. http://www.spout.com/groups/Natsukashi/Episode_XXV_Twin_Peaks_pilot_and_Fire_Walk_Wit/592/40469/1/ShowPost.aspx Post By: usesoap
Post To: Natsukashi
Post Date: 2/14/2009 8:47:21 PM
Body: Film: Twin Peaks (Pilot) (1990) and Twin Peaks: Fire Walk With Me (1992)Rated: (Fire Walk with Me) RDirected by: David LynchWritten by: David Lynch and Mark Frost Starring: Kyle MacLachlin as Special Agent Dale Cooper Michael Ontkean as Sheriff Harry S. Truman Dana Ashbrook as Bobby Briggs Lara Flynn Boyle as Donna Hayward (played by Moira Kelly in FWWM) Madchen Amick as Shelly Johnson Sheryl Lee as Laura Palmer/Madeline Ferguson Ray Wise as LeLand Palmer By Joe Campanella of Cinema-Fist Pre-screeening memories: Growing up I was exposed to many different kinds of films. You see, I had a brother who was 14 years older than me, so naturally I'd pick up on a few things most 10-year-olds didn't. While the kids at school were telling me how great Home Alone was, I was raving about Barton Fink. My God, I was pretentious even back then? As a kid I remember my brother being obsessed with this show because someone named David Lynch was at the helm. (Having grown up and seen most of Lynch's work I now know why.) Every week, my brother would put on the TV and watch another episode of this odd show about the murder of someone named Laura Palmer.
]]>Sun, 15 Feb 2009 01:47:21 GMTusesoapNatsukashi2/14/2009 8:47:21 PMFilm: Twin Peaks (Pilot) (1990) and Twin Peaks: Fire Walk With Me (1992)Rated: (Fire Walk with Me) RDirected by: David LynchWritten by: David Lynch and Mark Frost Starring: Kyle MacLachlin as Special Agent Dale Cooper Michael Ontkean as Sheriff Harry S. Truman Dana Ashbrook as Bobby Briggs Lara Flynn Boyle as Donna Hayward (played by Moira Kelly in FWWM) Madchen Amick as Shelly Johnson Sheryl Lee as Laura Palmer/Madeline Ferguson Ray Wise as LeLand Palmer By Joe Campanella of Cinema-Fist Pre-screeening memories: Growing up I was exposed to many different kinds of films. You see, I had a brother who was 14 years older than me, so naturally I'd pick up on a few things most 10-year-olds didn't. While the kids at school were telling me how great Home Alone was, I was raving about Barton Fink. My God, I was pretentious even back then? As a kid I remember my brother being obsessed with this show because someone named David Lynch was at the helm. (Having grown up and seen most of Lynch's work I now know why.) Every week, my brother would put on the TV and watch another episode of this odd show about the murder of someone named Laura Palmer. http://www.spout.com/blogs/christhilk/archive/2008/9/18/35287.aspx Post By: ChrisThilk
Post To: ChrisThilk Blog
Post Date: 9/18/2008 8:01:19 PM
Body: In honor of Burn After Reading hitting theaters last week I decided my latest mini festival was going to be some of the Coen Brothers movies I have in the library. There are some notable omissions from that collection that I don’t have a good excuse for but I did want to rewatch some of the ones I’ve picked up. First up was Barton Fink, my first introduction to the Coens way back when it was first released. I’d seen bits of Raising Arizona but never really gotten into it. Fink, though, sucked me in and turned me into a fan of the brothers. The darkly comic tale of a writer who migrates from New York to Los Angeles in the mid-40s is always a treat on a number of levels. Not only are all the performances pitch-perfect, but the scene where Barton finally figures out what he wants the wresting picture he’s commissioned to write to be about and he winds up essentially re-writing the play we see in the movie’s opening always kills me. It completely undermines everything that we’ve seen about the character up until that point, that he’s some genius just overflowing with talent. Instead he winds up doing the only thing he knows how to do - repeat himself. Next was Fargo, which is so good on so many levels it defies most descriptions. Trust me - As good as this movie’s reputation is, those reviews don’t come close to describing how well made it actually it. It’s a bit scary. Finally I snuck in Intolerable Cruelty, which might seem like an odd choice but I like it. Catherine Zeta-Jones gives what might be called her usual performance and is more than a little funny, but she just doesn’t know what to do with the Coen’s style and so comes off a bit stilted. Compare that to George Clooney in his second Coen outing, who knows exactly what to do and how to sell his character. He’s the only one who seems to know what to do and what the Coens were doing in the movie, which is admittedly not one of their top-tier films. Still, it’s breezy and enjoyable and worth checking out or re-watching with a fresh perspective if you’ve previously dismissed it.        Originally posted on:Chris Thilk
]]>Fri, 19 Sep 2008 00:01:19 GMTChrisThilkChrisThilk Blog9/18/2008 8:01:19 PMIn honor of Burn After Reading hitting theaters last week I decided my latest mini festival was going to be some of the Coen Brothers movies I have in the library. There are some notable omissions from that collection that I don’t have a good excuse for but I did want to rewatch some of the ones I’ve picked up. First up was Barton Fink, my first introduction to the Coens way back when it was first released. I’d seen bits of Raising Arizona but never really gotten into it. Fink, though, sucked me in and turned me into a fan of the brothers. The darkly comic tale of a writer who migrates from New York to Los Angeles in the mid-40s is always a treat on a number of levels. Not only are all the performances pitch-perfect, but the scene where Barton finally figures out what he wants the wresting picture he’s commissioned to write to be about and he winds up essentially re-writing the play we see in the movie’s opening always kills me. It completely undermines everything that we’ve seen about the character up until that point, that he’s some genius just overflowing with talent. Instead he winds up doing the only thing he knows how to do - repeat himself. Next was Fargo, which is so good on so many levels it defies most descriptions. Trust me - As good as this movie’s reputation is, those reviews don’t come close to describing how well made it actually it. It’s a bit scary. Finally I snuck in Intolerable Cruelty, which might seem like an odd choice but I like it. Catherine Zeta-Jones gives what might be called her usual performance and is more than a little funny, but she just doesn’t know what to do with the Coen’s style and so comes off a bit stilted. Compare that to George Clooney in his second Coen outing, who knows exactly what to do and how to sell his character. He’s the only one who seems to know what to do and what the Coens were doing in the movie, which is admittedly not one of their top-tier films. Still, it’s breezy and enjoyable and worth checking out or re-watching with a fresh perspective if you’ve previously dismissed it.        Originally posted on:Chris Thilk http://www.spout.com/blogs/spoutblog/archive/2008/9/12/35065.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/12/2008 2:00:54 PM
Body: Everybody remembers the bigger name Coen Bros. regulars, such as John Turturro, Steve Buscemi, John Goodman, Frances McDormand, Billy Bob Thornton and now George Clooney. And of course, there are the one-shot stars, like Nicolas Cage, Gabriel Byrne, Jeff Bridges, William H. Macy, Catherine Zeta-Jones, Julianne Moore, Paul Newman, Albert Finney, Woody Harrelson, Tim Robbins and now Brad Pitt and John Malkovich. But who ever talks about Michael Lerner? He received an Oscar nomination for his supporting role in Barton Fink, yet he never seems to get the same kind of respect that Javier Bardem gets, and it’s not just because Bardem won the award for No Country for Old Men. With their new film, Burn After Reading, the Coens have again recast some lesser known character actors that I hope get the recognition they deserve. Both Richard Jenkins and J.K. Simmons have previously appeared in the Coens’ films, but each has seriously risen in notability since their last collaboration with the filmmakers. Hopefully, they’ll continue to be cast by the brothers. Obviously, all my favorite Coen Bros. actors can’t be in every Coen Bros. movie (especially since some of them are dead). And interestingly enough, the brothers’ next film, A Serious Man, is being cast with (so far) only actors they’ve never employed. So, I’d like to take a moment to acknowledge the less-recognized actors and actresses who have done tremendous work for Joel and Ethan, not so much in the hopes that they’ll be re-employed (some can’t be) but in the general interest of giving them some much-needed praise. Tony Shalhoub (Barton Fink; The Man Who Wasn’t There) At the rate he’s going with his Coens film appearances, he’s due for another role come 2011. And seeing as his hit TV series Monk may be in its final season, the guy is probably going to be available. I’ve highlighted his performance as the defense attorney Freddy Riedenschneider, from The Man Who Wasn’t There, above, but be sure to also take another look at his portrayal of movie producer Ben Geisler, from Barton Fink, which can also be seen on YouTube. Stephen Root (O Brother, Where Art Thou?; The Ladykillers; No Country for Old Men) I got so excited when I saw Root in No Country for Old Men, but he was again underutilized. After appearing in three of the Coens’ films, the actor best known for playing Milton in Office Space and Jimmy James on TV’s News Radio, is due for a more substantial role. In fact, he really needs to be getting better parts in general, not just in the works of the Coens. In the video above he can be seen as the blind character credited only as “Radio Station Man.” Jon Polito (Miller’s Crossing; Barton Fink; The Hudsucker Proxy; The Big Lebowski; The Man Who Wasn’t There) He’s been really great in five Coen Bros. films, so it’s a shame he’s not as well-known as Turturro or Buscemi. For some reason, only the Coens seem to employ him in worthwhile roles, and even they haven’t been able to give him as juicy a part as he had in Miller’s Crossing. He really shines here, and he’s got some memorable lines (”did somebody hit you?”; “always put one in the head”). In the selected scene, Polito opens the film with a monologue about ethics. I love it when he gets so angry that his whole bald head turns bright purple. For a great montage of his work, produced for his reception of a special award at the Cinequest San Jose Film Festival, check out this other clip, too. Philip Seymour Hoffman (The Big Lebowski) Obviously by including Hoffman on this list I don’t mean to claim he’s an underappreciated actor. He’s certainly recognized as one of the best we’ve got. But his bit work in The Big Lebowski often goes forgotten, despite it being yet another fine performance by Hoffman, even for such a minor role as the Big Lebowski’s assistant, Brandt. The Oscar-winner more recently worked with the Coens for a radio play titled “Sawbones,” but it would be great to see him work with the brothers again on camera. Trey Wilson (Raising Arizona) One of my favorite scenes in my favorite Coen Bros. movie (Raising Arizona) is the one in which the late, great Trey Wilson, as Nathan Arizona, gets extremely frustrated with the police investigating his son’s kidnapping (best line: “They were jammies. They had Yodas ‘n’ shit on ‘em!”). Wilson’s part isn’t huge, but he makes it seem like it is. And considering how many talented character actors appear in the film, it’s no small feat to deliver such a standout performance. Unfortunately, none of his scenes are separately available on YouTube, but the above clip is at least primarily the police investigation scene. M. Emmet Walsh (Blood Simple; Raising Arizona) I must confess something horrible: while compiling this list, I discovered that M. Emmet Walsh is alive. See, I’ve always confused him with J.T. Walsh, who died ten years ago. And when planning out this piece, it was constantly in my mind that I was featuring two deceased actors — Trey Wilson and M. Emmet. I guess it hasn’t helped my confusion that M.E. Walsh hasn’t really done much of worth in the decade since we lost J.T. (Roger Ebert’s “Stanton-Walsh Rule” was said to be broken after Walsh appeared in Wild Wild West). Anyway, I’m ecstatic that he’s still around, and my desire to celebrate his Coen Bros. roles isn’t changed one bit. In an even smaller part than Wilson’s, Walsh is also quite memorable in Raising Arizona as H.I.’s machine shop co-worker who won’t stop yapping (”… his sandwich in one hand, the fuckin’ head in the other…”). But it’s for his more prominent role in Blood Simple, as a scummy private dick, that the rarely leading actor should be remembered when he actually does pass on. I’m always astonished that after giving such a terrific performance in their debut, Walsh wasn’t utilized by the Coens more. Also, they probably should have worked again with Dan Hedaya, another great character actor who can be seen opposite Walsh in the selected clip from Blood Simple above. Michael Badalucco (Miller’s Crossing; O Brother, Where Art Thou?; The Man Who Wasn’t There) It was great seeing Badalucco cast in a major role for The Man Who Wasn’t There, but I get more excited over his short but recurring stint as George “Don’t Call Him Babyface” Nelson in O Brother. His portrayal of the in-and-out, seemingly bipolar bank robber, he’s like a regenerating firecracker, exploding then fizzling then later exploding again. I wish there were more of his scenes available online, but since his police chase bit seems only to be found in Italian, I’ve highlighted his final appearance in the film, which can be seen near the end of the above clip. William Forsythe (Raising Arizona) If you were to judge Forsythe based on just any random role, such as his FBI agent from last year’s 88 Minutes, you might accept him as simply a serviceable supporting actor, hardly someone to honor in even one-tenth of a list on a blog. But look at a more selective sampling of his work — specifically his performances in The Waterdance, Dick Tracy, Palookaville and Raising Arizona — and you’ll see that he has more range than he’s probably given credit for. While watching him as the rather simple-minded Evelle Snoats in Arizona, in fact, I often forget that he’s the same guy that was later reunited with Nicolas Cage (as a fellow FBI agent) in The Rock. Though he’s somewhat overshadowed by his onscreen big brother, played by John Goodman, he does get in a good amount of memorable lines and actions, as you can see in the clip above. John Carroll Lynch (Fargo) Norm Gunderson is such a thankless role, especially since it’s so overshadowed by the Oscar-winning performance by Frances McDormand as Marge Gunderson. But it came early in Lynch’s career, which is still not rising as fast as it maybe should be, and now it’s time for the understated yet often hilarious and/or creepy actor to properly appear in a more comedic Coen Bros. part. For lack of a precise clip, I’ve featured a montage reel of Lynch’s work, which includes one of his scenes from Fargo as well as some of his more showy roles, like his recurring cross-dressing character from The Drew Carrey Show. Another one of his scenes as Norm can also be found at the end of another montage reel specifically spotlighting his comedy work. Beth Grant (No Country for Old Men) You kind of want to hate her for how inadvertently awful her character is in No Country, but the Coen Bros. are too good at giving us such wonderfully irksome characters, like Glen (Sam McMurry) in Raising Arizona, Gaear (Peter Stormare) in Fargo and Homer Stokes (Wayne Duvall) in O Brother. And Grant is so good at delivering such delectably despicable performances that her part as Carla Jean’s mother left me wanting more. Considering the Coens rarely reuse previously employed actresses (McDormand is a constant probably more because she’s Joel’s wife than because she’s such a talent, and both Holly Hunter and Jennifer Jason Leigh have just barely been recast), it would be even more of a treat if they someday work with Grant again. Between the distinctness of her physical features and voice and her ability to be so nasty makes her a perfect candidate for future Coen Bros. movies. Because no clips of her in No Country could be found — plus most of her scenes would include spoilers anyway — I’ve showcased her other most memorable and hated character from Donnie Darko. Originally posted on:SpoutBlog
]]>Fri, 12 Sep 2008 18:00:54 GMTSpoutBlogSpoutBlog on spout.com9/12/2008 2:00:54 PM Everybody remembers the bigger name Coen Bros. regulars, such as John Turturro, Steve Buscemi, John Goodman, Frances McDormand, Billy Bob Thornton and now George Clooney. And of course, there are the one-shot stars, like Nicolas Cage, Gabriel Byrne, Jeff Bridges, William H. Macy, Catherine Zeta-Jones, Julianne Moore, Paul Newman, Albert Finney, Woody Harrelson, Tim Robbins and now Brad Pitt and John Malkovich. But who ever talks about Michael Lerner? He received an Oscar nomination for his supporting role in Barton Fink, yet he never seems to get the same kind of respect that Javier Bardem gets, and it’s not just because Bardem won the award for No Country for Old Men. With their new film, Burn After Reading, the Coens have again recast some lesser known character actors that I hope get the recognition they deserve. Both Richard Jenkins and J.K. Simmons have previously appeared in the Coens’ films, but each has seriously risen in notability since their last collaboration with the filmmakers. Hopefully, they’ll continue to be cast by the brothers. Obviously, all my favorite Coen Bros. actors can’t be in every Coen Bros. movie (especially since some of them are dead). And interestingly enough, the brothers’ next film, A Serious Man, is being cast with (so far) only actors they’ve never employed. So, I’d like to take a moment to acknowledge the less-recognized actors and actresses who have done tremendous work for Joel and Ethan, not so much in the hopes that they’ll be re-employed (some can’t be) but in the general interest of giving them some much-needed praise. Tony Shalhoub (Barton Fink; The Man Who Wasn’t There) At the rate he’s going with his Coens film appearances, he’s due for another role come 2011. And seeing as his hit TV series Monk may be in its final season, the guy is probably going to be available. I’ve highlighted his performance as the defense attorney Freddy Riedenschneider, from The Man Who Wasn’t There, above, but be sure to also take another look at his portrayal of movie producer Ben Geisler, from Barton Fink, which can also be seen on YouTube. Stephen Root (O Brother, Where Art Thou?; The Ladykillers; No Country for Old Men) I got so excited when I saw Root in No Country for Old Men, but he was again underutilized. After appearing in three of the Coens’ films, the actor best known for playing Milton in Office Space and Jimmy James on TV’s News Radio, is due for a more substantial role. In fact, he really needs to be getting better parts in general, not just in the works of the Coens. In the video above he can be seen as the blind character credited only as “Radio Station Man.” Jon Polito (Miller’s Crossing; Barton Fink; The Hudsucker Proxy; The Big Lebowski; The Man Who Wasn’t There) He’s been really great in five Coen Bros. films, so it’s a shame he’s not as well-known as Turturro or Buscemi. For some reason, only the Coens seem to employ him in worthwhile roles, and even they haven’t been able to give him as juicy a part as he had in Miller’s Crossing. He really shines here, and he’s got some memorable lines (”did somebody hit you?”; “always put one in the head”). In the selected scene, Polito opens the film with a monologue about ethics. I love it when he gets so angry that his whole bald head turns bright purple. For a great montage of his work, produced for his reception of a special award at the Cinequest San Jose Film Festival, check out this other clip, too. Philip Seymour Hoffman (The Big Lebowski) Obviously by including Hoffman on this list I don’t mean to claim he’s an underappreciated actor. He’s certainly recognized as one of the best we’ve got. But his bit work in The Big Lebowski often goes forgotten, despite it being yet another fine performance by Hoffman, even for such a minor role as the Big Lebowski’s assistant, Brandt. The Oscar-winner more recently worked with the Coens for a radio play titled “Sawbones,” but it would be great to see him work with the brothers again on camera. Trey Wilson (Raising Arizona) One of my favorite scenes in my favorite Coen Bros. movie (Raising Arizona) is the one in which the late, great Trey Wilson, as Nathan Arizona, gets extremely frustrated with the police investigating his son’s kidnapping (best line: “They were jammies. They had Yodas ‘n’ shit on ‘em!”). Wilson’s part isn’t huge, but he makes it seem like it is. And considering how many talented character actors appear in the film, it’s no small feat to deliver such a standout performance. Unfortunately, none of his scenes are separately available on YouTube, but the above clip is at least primarily the police investigation scene. M. Emmet Walsh (Blood Simple; Raising Arizona) I must confess something horrible: while compiling this list, I discovered that M. Emmet Walsh is alive. See, I’ve always confused him with J.T. Walsh, who died ten years ago. And when planning out this piece, it was constantly in my mind that I was featuring two deceased actors — Trey Wilson and M. Emmet. I guess it hasn’t helped my confusion that M.E. Walsh hasn’t really done much of worth in the decade since we lost J.T. (Roger Ebert’s “Stanton-Walsh Rule” was said to be broken after Walsh appeared in Wild Wild West). Anyway, I’m ecstatic that he’s still around, and my desire to celebrate his Coen Bros. roles isn’t changed one bit. In an even smaller part than Wilson’s, Walsh is also quite memorable in Raising Arizona as H.I.’s machine shop co-worker who won’t stop yapping (”… his sandwich in one hand, the fuckin’ head in the other…”). But it’s for his more prominent role in Blood Simple, as a scummy private dick, that the rarely leading actor should be remembered when he actually does pass on. I’m always astonished that after giving such a terrific performance in their debut, Walsh wasn’t utilized by the Coens more. Also, they probably should have worked again with Dan Hedaya, another great character actor who can be seen opposite Walsh in the selected clip from Blood Simple above. Michael Badalucco (Miller’s Crossing; O Brother, Where Art Thou?; The Man Who Wasn’t There) It was great seeing Badalucco cast in a major role for The Man Who Wasn’t There, but I get more excited over his short but recurring stint as George “Don’t Call Him Babyface” Nelson in O Brother. His portrayal of the in-and-out, seemingly bipolar bank robber, he’s like a regenerating firecracker, exploding then fizzling then later exploding again. I wish there were more of his scenes available online, but since his police chase bit seems only to be found in Italian, I’ve highlighted his final appearance in the film, which can be seen near the end of the above clip. William Forsythe (Raising Arizona) If you were to judge Forsythe based on just any random role, such as his FBI agent from last year’s 88 Minutes, you might accept him as simply a serviceable supporting actor, hardly someone to honor in even one-tenth of a list on a blog. But look at a more selective sampling of his work — specifically his performances in The Waterdance, Dick Tracy, Palookaville and Raising Arizona — and you’ll see that he has more range than he’s probably given credit for. While watching him as the rather simple-minded Evelle Snoats in Arizona, in fact, I often forget that he’s the same guy that was later reunited with Nicolas Cage (as a fellow FBI agent) in The Rock. Though he’s somewhat overshadowed by his onscreen big brother, played by John Goodman, he does get in a good amount of memorable lines and actions, as you can see in the clip above. John Carroll Lynch (Fargo) Norm Gunderson is such a thankless role, especially since it’s so overshadowed by the Oscar-winning performance by Frances McDormand as Marge Gunderson. But it came early in Lynch’s career, which is still not rising as fast as it maybe should be, and now it’s time for the understated yet often hilarious and/or creepy actor to properly appear in a more comedic Coen Bros. part. For lack of a precise clip, I’ve featured a montage reel of Lynch’s work, which includes one of his scenes from Fargo as well as some of his more showy roles, like his recurring cross-dressing character from The Drew Carrey Show. Another one of his scenes as Norm can also be found at the end of another montage reel specifically spotlighting his comedy work. Beth Grant (No Country for Old Men) You kind of want to hate her for how inadvertently awful her character is in No Country, but the Coen Bros. are too good at giving us such wonderfully irksome characters, like Glen (Sam McMurry) in Raising Arizona, Gaear (Peter Stormare) in Fargo and Homer Stokes (Wayne Duvall) in O Brother. And Grant is so good at delivering such delectably despicable performances that her part as Carla Jean’s mother left me wanting more. Considering the Coens rarely reuse previously employed actresses (McDormand is a constant probably more because she’s Joel’s wife than because she’s such a talent, and both Holly Hunter and Jennifer Jason Leigh have just barely been recast), it would be even more of a treat if they someday work with Grant again. Between the distinctness of her physical features and voice and her ability to be so nasty makes her a perfect candidate for future Coen Bros. movies. Because no clips of her in No Country could be found — plus most of her scenes would include spoilers anyway — I’ve showcased her other most memorable and hated character from Donnie Darko. Originally posted on:SpoutBlog http://www.spout.com/blogs/smooth_j/archive/2008/5/11/28465.aspx Post By: Smooth_J
Post To: Smooth_J Blog
Post Date: 5/11/2008 11:51:17 AM
Body: This is one of my new favorites of the Coen Brothers’ films. Which isn’t really saying much, considering I’ve loved every single one of them that I’ve seen (I have yet to see The Hudsucker Proxy, and Intolerable Cruelty/Ladykillers—not in much of a rush for those). I found this to delve just as deep into the mind of a writer as Naked Lunch, which also was greatly successful in that aspect. There are a good amount of similarities to each one—most noticeably the insanity and bizarrity brought about by the writing process, but something that I really noticed was the fact that Judy Davis was in both of them. And, even more curious, the fact that her characters’ deaths in both films bring about a new life into the writers minds, and helps them to finish their respective pieces. The film is really meant to be a satire on the process of getting a script approved in Hollywood, though the theme of a writer’s torture is just as apparent. Michael Lerner’s studio boss is especially hilarious, and his blatant dishonesty and obnoxiousness provide some of the highlights of the film. Tony Shaloub is characteristically annoying as a producer who is stuck with Fink, trying to his script finished, but that just heightens the effect that the Coens are trying to put forth: That Hollywood sucks, especially for the lowly writers. The signature Coen’s motifs and symbolism run rampant in this film—the shoes, the hallway, the bible, and most importantly the reference to the writing process as being a hell on earth for any writer. I found the most interesting performance of the film to be John Mahoney as the alcoholic writer that Barton looks up to, then envies and pities. His performance is a small one, but I found it to leave a large impact on me even after his scenes were over. I was sort of hoping he would have more scenes, but his absence was made up for by several other outstanding performances in the film. The ending sequence in the hotel is especially great. John Goodman’s satanic character brings everything into that scene, and yet you still have a huge amount of sympathy for this “common man” who’s “not mad at anyone.” Though you realize that he is really a sort-of anti-Christ, there is no denying the sympathy towards him that you inadvertently feel. It is a disturbing scene, but very, very powerful…and as Barton leaves this literal Hell, everything about the film comes together; he has now finished his screenplay, and is leaving that God-forsaken place. I’m still trying to sort out the meaning of the woman in the painting, whom he meets at the end. My guess is that it just means that he is now free, in the haven that he dreamed of the entire time he was writing. However, it could be something much simpler that I’m just missing… Barton Fink, as with Naked Lunch, is an excellent portal into the mind of a writer, and the sufferings they are put through; even though we really shouldn’t have anything to complain about.
]]>Sun, 11 May 2008 15:51:17 GMTSmooth_JSmooth_J Blog5/11/2008 11:51:17 AMThis is one of my new favorites of the Coen Brothers&rsquo; films. Which isn&rsquo;t really saying much, considering I&rsquo;ve loved every single one of them that I&rsquo;ve seen (I have yet to see The Hudsucker Proxy, and Intolerable Cruelty/Ladykillers&mdash;not in much of a rush for those). I found this to delve just as deep into the mind of a writer as Naked Lunch, which also was greatly successful in that aspect. There are a good amount of similarities to each one&mdash;most noticeably the insanity and bizarrity brought about by the writing process, but something that I really noticed was the fact that Judy Davis was in both of them. And, even more curious, the fact that her characters&rsquo; deaths in both films bring about a new life into the writers minds, and helps them to finish their respective pieces. The film is really meant to be a satire on the process of getting a script approved in Hollywood, though the theme of a writer&rsquo;s torture is just as apparent. Michael Lerner&rsquo;s studio boss is especially hilarious, and his blatant dishonesty and obnoxiousness provide some of the highlights of the film. Tony Shaloub is characteristically annoying as a producer who is stuck with Fink, trying to his script finished, but that just heightens the effect that the Coens are trying to put forth: That Hollywood sucks, especially for the lowly writers. The signature Coen&rsquo;s motifs and symbolism run rampant in this film&mdash;the shoes, the hallway, the bible, and most importantly the reference to the writing process as being a hell on earth for any writer. I found the most interesting performance of the film to be John Mahoney as the alcoholic writer that Barton looks up to, then envies and pities. His performance is a small one, but I found it to leave a large impact on me even after his scenes were over. I was sort of hoping he would have more scenes, but his absence was made up for by several other outstanding performances in the film. The ending sequence in the hotel is especially great. John Goodman&rsquo;s satanic character brings everything into that scene, and yet you still have a huge amount of sympathy for this &ldquo;common man&rdquo; who&rsquo;s &ldquo;not mad at anyone.&rdquo; Though you realize that he is really a sort-of anti-Christ, there is no denying the sympathy towards him that you inadvertently feel. It is a disturbing scene, but very, very powerful&hellip;and as Barton leaves this literal Hell, everything about the film comes together; he has now finished his screenplay, and is leaving that God-forsaken place. I&rsquo;m still trying to sort out the meaning of the woman in the painting, whom he meets at the end. My guess is that it just means that he is now free, in the haven that he dreamed of the entire time he was writing. However, it could be something much simpler that I&rsquo;m just missing&hellip; Barton Fink, as with Naked Lunch, is an excellent portal into the mind of a writer, and the sufferings they are put through; even though we really shouldn&rsquo;t have anything to complain about. http://www.spout.com/blogs/pippin06/archive/2008/5/7/28288.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 5/7/2008 8:42:57 AM
Body: The next couple of entries on the Netflix queue are Coen brother movies, which is good, because the only one I think I have seen of theirs up until now is O Brother Where Art Thou, which made me chuckle but which I did not seem to love as much as other people do. What I will say is that the Coens seem to make thinkers' movies, and I have been looking forward to seeing a few of them, though not necessarily Barton Fink. I queued this up when I read the description of the plot because it is about a writer fighting to be a writer who writes something meaningful in this sometimes meaningless world. Of course, it takes a few twists and turns, but that's what attracted me to the film because I fancy myself a writer (maybe not as much lately but erstwhile and hopefully in the future). Plus, I was intrigued by the potential intelligence of this film. And it was definitely intelligent: not in that earth-shattering genius sort of way, but it was smart and multi-layered and encouraged you to react to some surreal situations. It also had that dark undercurrent that seems to punctuate many of the Coen brothers' films. Barton Fink (John Turturro) is a playwright who has just met his first Broadway success in New York. As a result, Hollywood comes knocking, and Barton reluctantly agrees to write for the movies in anticipation of the financial reward, though seemingly at a compromise of his principles, as he believes writing should be about the hopes and dreams of the common man rather than some assemblage of abstract thoughts for literary minds or a commercial enterprise. This compromise manifests into writers' block; as a solution, he seeks out the advice of another novelist-turned-screenwriter, the drunk and animated W.P. Mayhew (John Mahoney, playing a Faulkner type). Mayhew's "personal" secretary Audrey (Judy Davis), who has ghost-written several of Mayhew's projects, takes an interest in Barton as does Barton's next-door-neighbor, Charlie (John Goodman in an outstanding performance), a likable salesman looking to chat away a few lonely nights. Things go horribly awry when Barton gets roped into a murder investigation, and the plot takes a few turns that I will not even risk spoiling. Other appearances include Tony Shalhoub as the producer behind Barton's potential film and Steve Buscemi as the bellhop for the run-down dump of a hotel in which Barton sets up residence. I liked this movie because it worked on many levels that did not really seem to intersect. It was like lasagna, actually: distinct layers of noodles, meat, and cheese that work well together but are totally separate, parallel even. On the one hand, the film was about the writer's journey, and what I loved were the little details, the sounds of the empty hotel that seem to haunt and plague Barton as he struggles to write a "wrestling picture." The peeling of the wallpaper; the long, empty hall of unshined shoes; the picture of the woman staring at the ocean waves; I found it all to be a sensitive examination of the writer's mind and journey in the occasional struggle to create. In fact, the hotel became something of a visual metaphor for Barton's particular creative dilemma, and I thought it was kind of brilliant to sort of make the surrounds its own supporting character. I kept wondering where they filmed this movie, but I didn't dig into the DVD extras to look. On the other hand, the movie is about what happens when an ordinary man gets caught in extraordinary circumstances and how the ordinary man reacts. The murder investigation throws the viewer for quite a loop, and the movie takes on a very surreal flavor as Barton struggles to piece together his shattered perceptions. Of course, on the still other hand, the film is about how things are not what they seem. Shattered perceptions, particularly of the ideals that the common man or even the thinking man develops in his mind, are a dominant theme. I cannot spoil it, though. This movie worked so well for me because I knew little about it, so the twists were especially effective. I would not dream of ruining it for others who might want to see it. The performances in this film by Turturro and Goodman were outstanding. I was especially impressed with John Goodman, who is known for his comedic acting, but he played the gregarious though decidedly "off" Charlie with skill I was not aware he had. John Turturro has always been one of those character actors that seems to find the center of his role so completely that suspension of disbelief is not even a question. Barton was a sympathetic character despite his cerebral qualities because he experiences real emotions, which Turturro seemed to portray with ease. Also, this story was so original and well-executed, I am finally a believer in those who extol the Coens. I am looking forward to finally seeing Fargo, which I believe is next up on the queue. I have a few miniscule complaints about this movie, however, that keep me from thinking this is a masterpiece or even perfectly entertaining. The pacing in the middle of the film seemed to slow to a bit of a crawl, when the beginning was already sort of ambling along at an easygoing trot. Perhaps it was to dull the viewer's senses a bit before the ensuing events unfolded, but I had the itch to pause the movie for a snack at that point, and I am not sure it was necessary given that the film was already moving at an almost methodical speed, drawing the viewer into the logical, frustrated, creative mind of Barton. Also: what was in the box?! I have a few theories (a head, for starters, and this film predated Seven), but why was it never opened? As with Lost in Translation, I find secrets like this a little annoying. I know Barton may not have wanted to find out or further shatter his already broken perspective, or maybe the lesson is that some things are better left secret and unknown, and ideals and fantasies are better suited to one's comfort and well being. With all of the attention to it, though, I felt a bit incomplete. Even with the beautiful ending frame, which was simply poetic, I still was left asking, "That's it??" Also, what happened to the no-doubt over-torched hotel? I found myself wondering after Chet, the Steve Buscemi character. He was so eager, after all. All in all, however, these are minor flaws and quirky ones at that, and there are only a few, so I rate this movie an 8.5 between minor flaws/very good and perfectly entertaining. In terms of the test, I think I would purchase it if I found it for cheap, perhaps, but I don't know if I liked it enough to wishlist it right away. Still, this film is a very good one, and it makes you think. This writer appreciated though cautiously loved Barton's unusual journey.
]]>Wed, 07 May 2008 12:42:57 GMTpippin06Reel Thoughts5/7/2008 8:42:57 AMThe next couple of entries on the Netflix queue are Coen brother movies, which is good, because the only one I think I have seen of theirs up until now is O Brother Where Art Thou, which made me chuckle but which I did not seem to love as much as other people do. What I will say is that the Coens seem to make thinkers' movies, and I have been looking forward to seeing a few of them, though not necessarily Barton Fink. I queued this up when I read the description of the plot because it is about a writer fighting to be a writer who writes something meaningful in this sometimes meaningless world. Of course, it takes a few twists and turns, but that's what attracted me to the film because I fancy myself a writer (maybe not as much lately but erstwhile and hopefully in the future). Plus, I was intrigued by the potential intelligence of this film. And it was definitely intelligent: not in that earth-shattering genius sort of way, but it was smart and multi-layered and encouraged you to react to some surreal situations. It also had that dark undercurrent that seems to punctuate many of the Coen brothers' films. Barton Fink (John Turturro) is a playwright who has just met his first Broadway success in New York. As a result, Hollywood comes knocking, and Barton reluctantly agrees to write for the movies in anticipation of the financial reward, though seemingly at a compromise of his principles, as he believes writing should be about the hopes and dreams of the common man rather than some assemblage of abstract thoughts for literary minds or a commercial enterprise. This compromise manifests into writers' block; as a solution, he seeks out the advice of another novelist-turned-screenwriter, the drunk and animated W.P. Mayhew (John Mahoney, playing a Faulkner type). Mayhew's "personal" secretary Audrey (Judy Davis), who has ghost-written several of Mayhew's projects, takes an interest in Barton as does Barton's next-door-neighbor, Charlie (John Goodman in an outstanding performance), a likable salesman looking to chat away a few lonely nights. Things go horribly awry when Barton gets roped into a murder investigation, and the plot takes a few turns that I will not even risk spoiling. Other appearances include Tony Shalhoub as the producer behind Barton's potential film and Steve Buscemi as the bellhop for the run-down dump of a hotel in which Barton sets up residence. I liked this movie because it worked on many levels that did not really seem to intersect. It was like lasagna, actually: distinct layers of noodles, meat, and cheese that work well together but are totally separate, parallel even. On the one hand, the film was about the writer's journey, and what I loved were the little details, the sounds of the empty hotel that seem to haunt and plague Barton as he struggles to write a "wrestling picture." The peeling of the wallpaper; the long, empty hall of unshined shoes; the picture of the woman staring at the ocean waves; I found it all to be a sensitive examination of the writer's mind and journey in the occasional struggle to create. In fact, the hotel became something of a visual metaphor for Barton's particular creative dilemma, and I thought it was kind of brilliant to sort of make the surrounds its own supporting character. I kept wondering where they filmed this movie, but I didn't dig into the DVD extras to look. On the other hand, the movie is about what happens when an ordinary man gets caught in extraordinary circumstances and how the ordinary man reacts. The murder investigation throws the viewer for quite a loop, and the movie takes on a very surreal flavor as Barton struggles to piece together his shattered perceptions. Of course, on the still other hand, the film is about how things are not what they seem. Shattered perceptions, particularly of the ideals that the common man or even the thinking man develops in his mind, are a dominant theme. I cannot spoil it, though. This movie worked so well for me because I knew little about it, so the twists were especially effective. I would not dream of ruining it for others who might want to see it. The performances in this film by Turturro and Goodman were outstanding. I was especially impressed with John Goodman, who is known for his comedic acting, but he played the gregarious though decidedly "off" Charlie with skill I was not aware he had. John Turturro has always been one of those character actors that seems to find the center of his role so completely that suspension of disbelief is not even a question. Barton was a sympathetic character despite his cerebral qualities because he experiences real emotions, which Turturro seemed to portray with ease. Also, this story was so original and well-executed, I am finally a believer in those who extol the Coens. I am looking forward to finally seeing Fargo, which I believe is next up on the queue. I have a few miniscule complaints about this movie, however, that keep me from thinking this is a masterpiece or even perfectly entertaining. The pacing in the middle of the film seemed to slow to a bit of a crawl, when the beginning was already sort of ambling along at an easygoing trot. Perhaps it was to dull the viewer's senses a bit before the ensuing events unfolded, but I had the itch to pause the movie for a snack at that point, and I am not sure it was necessary given that the film was already moving at an almost methodical speed, drawing the viewer into the logical, frustrated, creative mind of Barton. Also: what was in the box?! I have a few theories (a head, for starters, and this film predated Seven), but why was it never opened? As with Lost in Translation, I find secrets like this a little annoying. I know Barton may not have wanted to find out or further shatter his already broken perspective, or maybe the lesson is that some things are better left secret and unknown, and ideals and fantasies are better suited to one's comfort and well being. With all of the attention to it, though, I felt a bit incomplete. Even with the beautiful ending frame, which was simply poetic, I still was left asking, "That's it??" Also, what happened to the no-doubt over-torched hotel? I found myself wondering after Chet, the Steve Buscemi character. He was so eager, after all. All in all, however, these are minor flaws and quirky ones at that, and there are only a few, so I rate this movie an 8.5 between minor flaws/very good and perfectly entertaining. In terms of the test, I think I would purchase it if I found it for cheap, perhaps, but I don't know if I liked it enough to wishlist it right away. Still, this film is a very good one, and it makes you think. This writer appreciated though cautiously loved Barton's unusual journey. http://www.spout.com/groups/Filmspotting/Re_Re_No_Country_For_Old_Men_Top_5_Coen_Bros_Sc/304/27451/1/ShowPost.aspx Post By: leeroy711
Post To: Filmspotting
Post Date: 4/18/2008 1:10:03 AM
Body: [quote user="indieabby88"][quote user="secondcitywolverine"]Right now I would say "The Lookout" is the best film of 2007 so far with "No Country For Old Men" directly behind.[/quote]I've been hearing people say good things about "The Lookout," and I'm not really sure why. When I went to see it, I was pretty disappointed. I'm trying to remember what it was about the movie I didn't like. I seem to remember the plot moving too slowly for me. Maybe I'm just impatient, and there was something going on that I just didn't get. I dunno.My top Coen Bros. scenes:-The ferret in the bathtub scene from "The Big Lebowski"-The "summer rain" scene from "O Brother"-The first scene with the apocalyptic bounty hunter in "Raising Arizona"-The wood chipper scene in "Fargo" (for some reason I just can't get over the image of Steve Buschemi's foot sticking out of that thing. It gave me awesome shivers.)-The bowling dream sequence from "Lebowski." [/quote] Great list, I also must add a few-The "look into your heart scene" in Millers Crossing. Completely unforgettable.-The car accident in The Man Who Wasn't There.-The John Goodman transformation at the end of Barton Fink
]]>Fri, 18 Apr 2008 05:10:03 GMTleeroy711Filmspotting4/18/2008 1:10:03 AM[quote user="indieabby88"][quote user="secondcitywolverine"]Right now I would say "The Lookout" is the best film of 2007 so far with "No Country For Old Men" directly behind.[/quote]I&#39;ve been hearing people say good things about "The Lookout," and I&#39;m not really sure why. When I went to see it, I was pretty disappointed. I&#39;m trying to remember what it was about the movie I didn&#39;t like. I seem to remember the plot moving too slowly for me. Maybe I&#39;m just impatient, and there was something going on that I just didn&#39;t get. I dunno.My top Coen Bros. scenes:-The ferret in the bathtub scene from "The Big Lebowski"-The "summer rain" scene from "O Brother"-The first scene with the apocalyptic bounty hunter in "Raising Arizona"-The wood chipper scene in "Fargo" (for some reason I just can&#39;t get over the image of Steve Buschemi&#39;s foot sticking out of that thing. It gave me awesome shivers.)-The bowling dream sequence from "Lebowski." [/quote] Great list, I also must add a few-The "look into your heart scene" in Millers Crossing. Completely unforgettable.-The car accident in The Man Who Wasn&#39;t There.-The John Goodman transformation at the end of Barton Fink http://www.spout.com/blogs/joem18b/archive/2007/7/20/15437.aspx Post By: joem18b
Post To: joem18b Blog
Post Date: 7/20/2007 5:20:00 PM
Body: Watched Barton Fink again after 15 years. That's 15 years of additional exposure to John Goodman, Steve Buscemi, John Turturro, and Judy Davis. Make a difference? Once the movie was rolling, I don't think so. They all have the chops to make me forget everything that I know about them and accept what I'm seeing on the screen.Which reminds me of recent discussions about whether Angelina Jolie can star in a movie without distracting the viewer with thoughts of her offscreen celebrity; the consensus on "A Mighty Heart" seems to be that she can.Barton Fink holds up for me. Could have been made yesterday. Every shot evokes the 40s. Bright colors but with that dark gold light that sybolizes L.A. and Hollywood back at the end of the Deco days. All right, I have no idea what the hell I'm talking about, but the color and lighting in Barton Fink are as important as any of the actors. A pleasure to just sit and enjoy the look of the film. Is there a word for nostalgia for a time you never actually knew?My spouse suprised me at the end of the movie by asking me what I thought it all meant - did he die and go to heaven, or hell, or what? Questions of symbolism never occured to me; I took the story as straight narrative.
]]>Fri, 20 Jul 2007 21:20:00 GMTjoem18bjoem18b Blog7/20/2007 5:20:00 PMWatched Barton Fink again after 15 years. That&#39;s 15 years of additional exposure to John Goodman, Steve Buscemi, John Turturro, and Judy Davis. Make a difference? Once the movie was rolling, I don&#39;t think so. They all have the chops to make me forget everything that I know about them and accept what I&#39;m seeing on the screen.Which reminds me of recent discussions about whether Angelina Jolie can star in a movie without distracting the viewer with thoughts of her offscreen celebrity; the consensus on "A Mighty Heart" seems to be that she can.Barton Fink holds up for me. Could have been made yesterday. Every shot evokes the 40s. Bright colors but with that dark gold light that sybolizes L.A. and Hollywood back at the end of the Deco days. All right, I have no idea what the hell I&#39;m talking about, but the color and lighting in Barton Fink are as important as any of the actors. A pleasure to just sit and enjoy the look of the film. Is there a word for nostalgia for a time you never actually knew?My spouse suprised me at the end of the movie by asking me what I thought it all meant - did he die and go to heaven, or hell, or what? Questions of symbolism never occured to me; I took the story as straight narrative. http://www.spout.com/members/0/tags/Loved-It/MemberTagFilms.aspxLoved-It
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