BARTON FINK
US, 1991, 117 minutes, Colour.
John Turturro, John Goodman, Judy Davis, Michael Lerner, John Mahoney, Tony Shalhoub, Steve Buscemi.
Directed by Joel Coen.
Barton Fink is an unusual film, to say the least. Winner of the 1991 Cannes Festival awards for film, director, actor (John Turturro), the film divided audiences. American reviewers tended to say that it was pretentious, the Coen brothers showing off after the success of their films Blood Simple, Raising Arizona, Millers Crossing. Others, on the other hand, said it was one of the most original films of 1991.
It is a clever film in its plot: a New York socially aware playwright (modelled on Clifford Odets) is caught up in Hollywood hype and unreality and does not cope. The setting is 1941, the year of Citizen Kane, and we are offered some very funny satire on Hollywood, especially in the form and words of Michael Lerner (Oscar nomination, Best Supporting Actor) as an obtuse studio head. But, in his seedy hotel (shades of The Tenant and The Shining), Barton Fink befriends his large neighbour and Barton's career and life are changed. John Turturro is excellent as Fink, John Goodman equally excellent as the neighbour.
The sets, the photography, the editing are all meticulous. The supporting cast includes Judy Davis and John Mahoney (as William Faulkner). But the screenplay weaves and twists many American themes and issues and so demands attention.
The Coens went on to write and direct The Hudsucker Proxy, Fargo, The Big Lebowski, O Brother Where Art Thou and The Man who Wasn't There.
1.Impact of the movie? Divided critics? Its awards?
2.The world of the New York theatre and restaurants, the contrast with Hollywood, the mansions of the moguls, the picnic grounds, the Hotel Earle, the beach, the USO dance floor? The film as a chamber piece, the touch of the claustrophobic? The style and design, the colours, camera styles and pace, editing? The musical score and songs?
3.The title and its tone - and the humour about `that Barton Fink feeling'?
4.The work of the Coens, writing and directing, their experience of moviemaking, knowledge of genres and movie history, sardonic tones, spoof and nostalgia? Their love for moviemaking, the quotations and references to other movies? To Wallace Beery's wrestling vehicle, Flesh, of 1932, directed by John Ford? Their interest in screenwriters, the creative art of writing? Individuals and conscience, integrity? The moguls and their double talk? Pretensions? The tone of the ending - certain or uncertain?
5.The Coens and the world of movies, expectations, quotations, types, the soul-destroying aspects of Hollywood?
6.The apocalyptic tone of the film, the American tradition of apocalyptic, plagues and the end of the world, violence, blood, madness and fire? The Coens' use of apocalyptic themes in Hollywood?
7.John Turturro's interpretation of Barton Fink: his appearance, style, manner of speaking, walking, facial expressions, tentative and serious? Watching his play, the stage managers and their reactions? Audience response, his going on stage and bowing? His friends in the restaurant, the reviews, his tentative approach, the ostentatious producer and his girlfriend and their praise? His manager and the agreement for a Hollywood contract? His arrival in Hollywood, going to the Hotel Earle - and its ominous motto, `For a day or for a lifetime'? The awkward encounter with Chet? The corridors, the sepulchral elevator driver, the tracking shots down the corridors of the hotel? The rooms and their decor? His settling in, unpacking his revered typewriter? The visit to Lipnick, the encounter with Lou Breeze? Lipnick's palaver and welcome, his ignorance about Fink, Fink's reaction? The assignment for the Wallace Beery wrestling movie - and his attempts to write, the opening like his play, Charlie illustrating wrestling moves for him, his going to the screening room and watching the collage of sequences from the wrestling movie? The jokes about the conventions and expectations of audiences from such a movie? The growing pressures, his sitting at his typewriter, the writer's block? The paper literally peeling from the wall, his trying to put it back, drawing pins from Chet? His watching the girl in the picture looking out over the water? The sounds from above, the sounds from next door?
8.Charlie's laugh and tears coming through the wall? His complaining about Charlie? The confrontation, his nervousness? Charlie coming in, talking, explaining his background, the salesman, the fact that he could tell stories? The drink? Fink's reaction and his not listening to Charlie, giving him rhetorical speeches about the common man? His liking Charlie, coming to rely on him, the visits? Charlie and his continued coming in, talking humbly and reacting genially to Barton? His going out, meeting Mayhew and hearing him sick in the toilet, the exchange of praise, the plan to visit? Going to the bungalow, Mayhew and his alcoholism, sickness? Meeting Audrey, discussing with her, her covering for him? Their going to the picnic, the talk about Hollywood, about writing, Mayhew's pretensions, living on his reputation and being a southern gentleman? The clash with Barton? His walking off? His continued alcoholism and sickness and Audrey caring for him?
9.Audrey, meeting Barton, his liking her, her protectiveness of Mayhew, her role as his secretary, mistress? Her manner, speaking style? The picnic and her support of Barton? The phone call, his desperation, her coming over to help, the fact that she wrote Mayhew's novels? Her helping Barton with his screenplay? The night together? The audience shocked by her violent death?
10.Geisler as agent, producer, offhand manner with Barton, his attitudes, abuse? Advice, the meal together? His secretary? The humour and satire of the harassed producer? The news that he was sacked?
11.The picture of the eccentric police, the Laurel and Hardy combination, their attitudes towards Fink, racial prejudice? Violence expression? Interrogations? The giving of the information about Charlie, his photo? Shocking Fink? The final confrontation with Charlie, the fire in the corridor, the shootings, Charlie chasing the small policeman, his death?
12.Barton and the shock of Audrey's death, wondering what to do, asking Charlie for his help (and the later ironies of what had happened)? Charlie and his illness, genial, getting rid of the body? His disappearance, leaving Barton with the box? Barton and the police interrogations, his fears? Going out, going to his appointment with Lipnick? Lipnick's reaction and reverence? Kissing his shoe? Breeze and Lipnick's sacking him? Barton's growing bewilderment?
13.Charlie's return, the confrontation with the truth, Charlie's madness, his explanations of himself, his size, his madness? People hurting him? People in sorrow and pain - and his helping them by putting them out of their misery? His strong attack on Barton and the fact that he never listened? The fire, the apocalyptic tone in the corridor, the police and their pursuit, the conflagration and Charlie going into his room?
14.Barton's final visit to Lipnick, his military costume from the department - in anticipation of the war? Breeze and his subservient attitude towards Lipnick? The portrait of the mogul from New York, from Minsk? Breeze and his background in the industry but his having to serve Lipnick? The abuse of Barton, his humiliation, the contract and Lipnick controlling his life and creativity? The screenplay and Michael Lerner's delivery of Lipnick's patter, contradictory statements, humour? The contrast with Breeze?
15.The character of Chet, ingenuous, the only person besides the lift driver seen in the hotel?
16.Barton going to the dance and jitterbugging? The apocalyptic tone of this frantic dance? His walking along the beach with the box, the puzzle of the box, the puzzle of his life, under Lipnick's control? Seeing the girl from the picture, her friendliness, communication, sitting down? Her talking with him, looking out to sea? Stranded on the beach with the box - and where to go? The bird falling before the final credits?
17.Barton left in mid-life, a pessimistic ending, sardonic - or simply uncertain?
