MPAA Rating: R/Genre: Period Dark Comedy/Stars: John Turturro, John Goodman, Michael Lerner, Judy Davis, John Mahoney, Tony Shalhoub, Jon Polito, Steve Buscemi, David Warrilow, Richard Portnow, Christopher Murney, Frances McDormand/Runtime: 116 minutes
I think it can definitely be said that if you were asked to name some of the more distinct film helmers who have ever graced the medium with their presence then I could say such people as Wes Anderson, Darren Aronofsky, Terrence Malick, Quentin Tarantino, Paul Thomas Anderson, and Christopher Nolan among others that definitely could come to mind, but for the purposes of this review I am not going to talk about any of them. Rather, I am going to focus my attention on no less a pair than Joel and Ethan Cohen (or the Cohen Brothers for short). Indeed here is a pair that, since their relatively straightforward crime noir debut Blood Simple in 1984, have done their best to give us a filmography that is anything, but straightforward. I mean from the delightfully quirky (even while making me never look at a woodchipper the same way again) Fargo in 1996, the film that made Jeff Bridges a certain cultural icon aka The Big Lebowski in 1998, the lighthearted Nicolas Cage and Holly Hunter crime comedy Raising Arizona in 1987, the wonderfully out of left field Southern spin on Homer’s The Odyssey O Brother, Where Art Thou from 2000, and even a remake of an iconic John Wayne western that turned out to be just as good with their 2010 take on True Grit among others it’s clear that this pair, when working together, are easily two of the more eclectic filmmakers and then some working in the land of movie magic today. Just like their peers that I mentioned above however, it should also come as no surprise to learn that, for all of their success, there are entries in this duo’s filmography that (surprise surprise) don’t get nearly as much in the way of love and admiration from either audiences, the critics, or both as the others. The reason I bring this up to you incidentally is because their film from 1991, and slice of cinema I happen to be reviewing for you today, Barton Fink is most assuredly a wonderful example of this cinematic concept in action. Indeed here is a slice of cinema that the first 2 or 3 times I watched it I was definitely left scratching my head and going “huh?” in a delightful mix of confusion and uncertainty as to what exactly it was that I had just devoted roughly 2 hours of my life to watching. Yet it wasn’t long thereafter that I sat down to watch it one more time, and not just because there was seemingly nothing else except Time Life infomercials on every single channel, and I was able to finally comprehend just what it was the Coens were aiming to achieve with this film. To be sure, it’s still not a perfect film by any stretch of the imagination, but with the aid of fairly solid work on both sides of the camera, Barton Fink “91” might not be for everyone yet for those able to get onboard its delightfully one-of-a-kind wavelength should find more than a fair bit to enjoy here.
The plot is as follows: Taking us as an audience back in time to the long-ago year of 1941, Barton Fink gets underway in that iconic locale known as The Big Apple (or New York City for those of you out there who prefer geographically accurate names). It is here where we are swiftly introduced to our hero, and guide through this cinematic labyrinth, in the shape and form of a man by the name of (big surprise coming your way here) Barton Fink. A young man who, among other things worth knowing about him, is a member of that distinct community known as playwrights who has just had his first play go to Broadway and get fairly solid reviews in the process (not by me of course, but that’s less because of what the play was about and more because I was not invited to attend, but that’s a whole other matter entirely). At any rate, we soon see that the more than slightly neurotic Barton is, against his better judgement, quickly lured away from doing what he loves when he is given the opportunity to write scripts for movies being made by a production company in Hollywood known as Capitol Pictures and get paid a cool grand per week doing so. Thus, upon making his way to Los Angeles, we see that our intrepid hero settles into his new digs at a wee bit eerie lodging in town known as the Hotel Earle. A place that, if I wanted to joke with you, I would tell you could give the Hilton a run for its money any day of the week and, if I decided to be honest with you, would tell you that it could definitely pass for the Hollywood Tower Hotel at Disney’s Hollywood Studios (minus the dust, cobwebs, and definite haunting situation). Despite the living conditions he is faced with including peeling wallpaper and a rather boisterous salesman for a neighbor, we see that Barton is nevertheless willing to do what he can to make the most of it and get down to work for his new boss, a rather loud and pushy sort by the name of Jack Lipnick, on his first assignment in the shape of a film about the world of wrestling. Or at least he would be if he could get past the first couple of sentences. Indeed, and in case you hadn’t put two and five together, our intrepid hero has just now been afflicted with that most horrific of writing calamities known as writer’s block. Yet as our hero desperately tries to wrestle himself free from the grasp of this ailment, we see that it isn’t long before he also finds himself becoming caught up with both a collection of truly unique individuals and ensnared in a labyrinth of truly odd and rather unnerving events. Events that not only test his resolve, but also begin to slowly push him to no less a place than the brink of madness. As for how this all plays out however that is something I will let you discover for yourself….
Now right off, it should be said that the work done by the assorted units operating behind the camera definitely does an incredibly solid job even if there are elements that are most assuredly going to frustrate a fair number of viewers out there. With that in mind, this starts (to no surprise) with the work done by Joel Cohen in the director’s chair and he does an incredibly wonderful job here. Indeed not only does Joel do a terrific job of really reproducing for us as an audience the distinct time and place that is Hollywood of the early 40s, but he also conjures up an atmosphere for this film that is a wonderful blend of surreal, almost Kafkaesque in nature, psychological terror and dark comedy respectively. As a result, we see that this slice of cinema is one that, from a directorial point of view, is able to do a truly magnificent job of causing you to morbidly chuckle whilst also hiding under your blanket due to how uncomfortable the world of the film is making you and, by extension, the main character as well. Along with that, this film is also aided by a terrific script as penned by both of the Cohens. Yes, there is a significant amount of unresolved ambiguity present that I could see upsetting a viewer who likes everything wrapped up in a neat little bow by the end. Even so however, there is no denying that the script for this film does a terrific job of giving us delightfully pointed dialogue and an intriguingly complicated story that also acts as a wonderfully scathing rebuke of both the old-school Hollywood system and the pretentiousness that can (key word there) be found amongst the NYC theater community respectively. In addition to the undeniably skilled work done by both Joel and Ethan Cohen on this slice of cinema’s screenplay, this film is also the blessed recipient of jaw-dropping work done by Roger Deakins in this film’s cinematography department and there are at least two things that Deakins does incredibly well here. The first is in how he manages to utilize a more subdued color palette consisting mostly of only brown and/or gray in order to not only reinforce the period our story takes place in, but also the state of mind that Barton seems to be stuck in. Along with that, we see that Deakins also does a terrific job of providing the film with camera work that is both purposeful and restrained. As a result, not only does it help to construct a palpable degree of tension, but it also really permits us as an audience to concentrate on how the characters interact and express themselves with each other as a manner of learning more about them as people. Lastly, I feel that this section would not be by any means of the imagination complete if I didn’t take at least some time in it to talk about the wonderful work done by Carter Burwell on this slice of cinema’s musical accompaniment. Indeed not only does Burwell’s work brilliantly synch up with the creepy and unnerving vibe present in the rest of the film, but through his utilization of sporadic orchestration plus atmospheric melodical work, we see that this also proves to be invaluable in giving the overall movie the vibe of ambiguity and suspense it desperately needed to work on the level that it ultimately does. Suffice it to say that when you also factor into account top-flight work from frequent Coen Brothers collaborator Roderick Jaynes (if you know, you know) in the editing department alongside Oscar-nominated work from the costume design department among others it’s clear that this slice of cinema is, from a behind the camera perspective, definitely a terrific example of filmmaking at its finest and then some in the best way possible.
Alongside the impeccable work done behind the camera, it also does not hurt this slice of cinema in the least that the cast of talent assembled in front of the camera to bring this story’s respective collection of characters to life all manage to bring their distinct individual A-games to their work on this film. Without a doubt in my mind, this starts with the work done by the always enjoyable John Turturro (The Big Lebowski, Secret Window, To Live and Die in L.A.) in the lead role and he is truly wonderful here. Indeed, as Barton, we see that Turturro is able to give us a character that is more than just a tad bit on the complex side. This is because while we as an audience are able to admire and perhaps even appreciate Barton’s goal of creating work that is meant to speak less to the upper crust of society and more so to the “common individual” we can’t help but notice that this man’s idealism is definitely blinding him to the fact that he too can be just as self-righteous and arrogant as the very people he claims to detest. As such, while we are able to empathize with him and what he goes through to an extent, we also have to accept that perhaps a fair amount of this might also be self-inflicted as well. Even with that moral dilemma in play however, there is no denying that Turturro does manage to give one heck of a performance here. That last sentiment incidentally could also be said about the work done here by the just as enjoyable screen icon John Goodman in the pivotal role of Charlie Meadows. Indeed this is a very tricky role to talk about due to potential spoilers, but what I can say is that Goodman definitely succeeds at giving the man an affable and down to earth demeanor about him that he desperately needs. Not just for his purpose in the story, but also so the audience can become as endeared by him as Barton. Lastly, this section would not be complete if I didn’t take the time to talk about the delightful Oscar-nominated supporting work from Michael Lerner (1989’s Harlem Nights and Eight Men Out from 1988) as Jack Lipnick. Indeed he may only have 30 minutes of screentime tops here, but even so Lerner does a twistedly delightful job of giving us a character that is equal parts bombastic, overbearing, and pushy to a point that you can’t help but laugh and be slightly repulsed whenever he’s on screen because of just how larger than life and ruthless the character seems to be. Suffice it to say that when you also throw into the mix performances from such talents as Judy Davis (The Ref, Absolute Power, and Naked Lunch), John Mahoney (Frasier’s dear ol’ dad Martin) who is a perverse delight as a fellow Hollywood writer that is undeniably gifted yet who also seems to be stuck in a semi-permanent state of alcoholic inebriation, Tony Shalhoub as a more than slightly irritable producer on the film our poor hero is stuck working on the script for, Jon Polito (the first Highlander, 1991’s The Rocketeer, and 1990’s The Freshman) as Lipnick’s very much on pins and needles assistant Lou Breeze, Steve Buscemi, and distinct character actor Richard Portnow among others it’s clear that this slice of cinema might not be everyone’s distinct brew, but for those who are willing to give it a shot this is one cast of talent that, regardless of how much or how little in terms of screentime they are ultimately given during the film’s runtime, definitely do everything in their collective power to help make this as engaging of a viewing experience as it ultimately turns out to be.
All in all and at the end of the day is Barton Fink a flawless cinematic outing by any stretch of the imagination (and maybe even beyond that come to think)? Sadly no though by no means should that be blamed on either the immensely talented cast or crew who helped to bring it to life. With that being said, is this the worst slice of cinema made by anyone who was part of making this be they cast or crew? Happily I can confirm that is not the case either. Not just because I have yet to see a Coen Brothers movie that I would genuinely say “oh that was an absolutely terrible piece of junk! I’m never wasting my time on that ever again!”, but also because there are movies on the resumes of some of the acting talent involved that definitely could be cinematic cures for insomnia with how delightful the nap I got out of them turned out to be. All sarcastic comments aside, I have no doubt that Barton Fink “91” is most definitely going to be a slice of cinema that is not for everyone. Not just because the story is definitely going to leave some of you feeling a wee bit befuddled, but because there is definitely a fair amount of ambiguity present to say nothing of the fact that the main character isn’t exactly the most likable individual in the world and that the tempo this slice of cinema operates with isn’t one that allows it to just hurl by seemingly at the speed of light. Should you be able to navigate around, or just make the choice to conveniently overlook, those particular cinematic potholes I promise that you will find more than a fair bit to enjoy here. Indeed the work in the director’s chair is solid, the script is extremely well-written, the cinematography is hauntingly well-executed, the score is splendid, and the performances in front of the camera (with particular regard to the ones given by Turturro, Goodman, and Lerner) are all terrific across the board. Suffice it to say that Barton Fink might not be the next movie you brag about to your family and friends that they have to see like yesterday, but don’t be surprised if (unlike the hotel Mr. Fink finds himself residing in during the film) you find yourself checking into this slice of cinema time and time again. Just make sure that you don’t cross paths with a friendly insurance salesman by the name of Charlie Meadows when you do. Trust me when I say that you might thank me later. Make of that what thou will dear reader! On a scale of 1-5 I give Barton Fink “91” a solid 4 out of 5.
