In 1941, New York intellectual playwright Barton Fink comes to Hollywood to write a Wallace Beery wrestling picture. Staying in the eerie Hotel Earle, Barton develops severe writer's block. His neighbor, jovial insurance salesman Charlie Meadows, tries to help, but Barton continues to struggle as a bizarre sequence of events distracts him even further from his task. Written by
Scott Renshaw <firstname.lastname@example.org>
The first voice heard in the movie, an actor on the stage performing Barton's play, is John Turturro's. See more »
The hand that Chet uses to stop the bell ringing. See more »
I could tell you some stories...
Sure you could and yet many writers do everything in their power to insulate themselves from the common man, from where they live, from where they trade, from where they fight and love and converse and...
So naturally their work suffers and regresses into empty formalism and... well I'm spouting off again, but to put it in your language, the theatre becomes as phony as a three-dollar bill!
Well I guess that's a tragedy right there!
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The Coen brothers have come a long way from their start with an 8mm camera. They have written and produced some great homages to the film noir era of Hollywood, and this film is no exception.
First, is the great dialog written by the brothers. Great dialog is a feature of their films, and this one has some of the most memorable I have heard. You can almost turn off the visual and just listen and be enchanted and know you are listening to a Coen brothers film.
But turning off the visual would deprive you of the great cinematography of Roger Deakins. His can frame a scene to the point that you could pause the film and just soak in the texture and color and realism. It is almost as if every frame is a painting.
The Coen brothers also seem to get the best performances out of an actor that I have seen. John Goodman is brilliant in this film and he seems to do his best work for the Coens. John Turturro is captivating as the hack writer who talks about his love for the common man, but just really doesn't know the common man and really doesn't care about them. Michael Lerner was brilliant as the requisite man behind the desk that is the feature of 40's noir.
One doesn't always know what is in the Coen brothers minds. Is this a foretelling of the rise of Nazism, of intellectuals who really didn't understand the appeal of fascism to the common man, or a surreal portrait of someone who sells out. No matter what their intention, they make you think and return to see their films again and again.
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