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.