Symbols and Metaphors IV. Released in TBL is the seventh effort of the Coen brothers and — after Raising Arizona and Fargo — their third movie that deals with kidnapping.
Issue 11 Have you ever been a disappointed fan? Of their eight films, four have been comedies and the other four were. However, I would distinguish their films according to tone or sensibility. Which is not a very neat classification. Of course, these films have extremely funny moments and dialogue, but they are not guided by the comedic structuring devices that Raising Arizona, The Hudsucker Proxy, The Big Lebowski, and now, O Brother, are.
These latter comedies are not particularly good, or even very funny for that matter. The humour always seems forced, from characters constructed on a collection of mannerisms, to an obvious deployment of irony and parody at every level of the film.
And the films never seem to be about anything. Which is a great critical throwaway, and it would be a surprise if I justified that later in this piece.
O Brother is the story of three convicts who escape from a chain gang in search of a buried treasure, and their subsequent journey across the southern states of America.
The titular character of that film, a big-time Hollywood director of comedies and musicals, decides that his next project will be a social-conscience film that would be a portrait of the real America during the depression, giving a sense of what life is really like outside the comfort and safety of the cinema.
The choice of this title by the Coen Brothers for their latest is certainly amusing enough for all 1st year post-modernists.
At the end of the film, after experiencing a little more than he wanted to, he decides that there is nothing wrong with comedy: Which is not something that happens to the three characters of this film.
And worse still, there is nothing for the audience to discover about these characters. John Turturro gives a performance of such little interest, it would be pointless to insult it. His character seems to be ready to break into a psychotic fit at any moment, and with no reason.
Delmar is a moron that slurs his speech, which suggests he really belongs in an Australian film 1.
And suggestive of a lack of imagination. There is no real sense of camaraderie between any of these characters, or between Everett and his not so bereaved widow. So, we have three characters with no inner life, traipsing across America, running into various other characters and experiences that are either culturally specific to the s or allusions to The Odyssey.
The three make the acquaintance of a black guitar player, and soon find themselves cutting a record in a radio station, performing under the name of The Soggy Bottom Boys.
They also meet Babyface Nelson, the notorious bank robber, and accompany him during a job. There is also the issue of a political race, and the highly choreographed Ku Klux Klan. It is typical of the overly sentimental and feel-good nature of this film, that all these plot strands will return in an unnecessary attempt at resolution that unconvincingly articulates a circular narrative trajectory.
After a fade to black, our heroes awake to find they are only two, as Pete seems to have been turned into a frog. Concerned though they are, particularly Delmar who really is stupid enough to believe that the frog is Pete, they continue and soon encounter an overbearing bible salesman John Goodman with only one eye.
Interpret him as the Cyclops. An exceptionally nasty one. Likewise, this scene suggests a moral but it really goes nowhere, and I can barely remember what follows it. There is no feeling or memory of the journey travelled in this film.
At first glance this film treads the same ground as Mel Brooks did with films such as the History of the World Part 1Blazing Saddles and Young Frankenstein The scenes in O Brother are amusing enough, some more so than others, but they bare no relation to each other or to the film as a whole.
With these films, including Fargo and Barton Fink, their characters arrive at the end of the narrative, with knowledge sometimes limited of the resolution, but without a realisation of the full personal and emotional meaning.
They just take it, and string a series of gags on it. And this is a fun and inoffensive film.Mar 19, · Barton Fink is a movie filled with complex symbolism, twisted plots, hidden meanings, and funny jokes. It is overflowing with deeper meaning and strong connections to an underlying theme.
It is overflowing with deeper meaning and strong connections to an underlying theme. Barton Fink is a American period film written, produced, directed and edited by the Coen nationwidesecretarial.com in , it stars John Turturro in the title role as a young New York City playwright who is hired to write scripts for a film studio in Hollywood, and John Goodman as Charlie, the insurance salesman who lives next door at the run-down Hotel Earle.
Nov 07, · Charlie (John Goodman) is Barton Fink's neighbor who Barton feels an attachment to. Most people concur that Charlie represents the devil.
Instead, I think that Charlie represents the repressed rage that "common men" trapped in dead-end lives feel. Barton Fink is a movie with complex symbolism, plot twists, hidden meanings, and a helluvalot of funny jokes.
(Cowen) Cowen could not have said it better. Barton Fink is abound with deeper meaning, and strong connections to an underlying theme. A reference to Barton Fink () can be seen in the tumble weed that is blown at the beginning of TBL to the same beach where Barton Fink ends.
But asked about the significance of that detail Ethan Coen plays it down – . Barton and Charlie compare their soles. THE LITTLE GUY: I don’t like to dwell on the symbolism of Opening Shots, but the first thing we see in Barton Fink is a lead weight descending on a rope, backstage in a Broadway theater.
The weight comes down as the protagonist’s career goes up. Barton.