Mourning his dead child, a haunted Vietnam vet attempts to discover his past while suffering from a severe case of disassociation. To do so, he must decipher reality and life from his own dreams, delusion, and perception of death.
A woman on the run from the mob is reluctantly accepted in a small Colorado town. In exchange, she agrees to work for them. As a search visits town, she finds out that their support has a price. Yet her dangerous secret is never far away...
After a car wreck on the winding Mulholland Drive renders a woman amnesiac, she and a perky Hollywood-hopeful search for clues and answers across Los Angeles in a twisting venture beyond dreams and reality.
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 <email@example.com>
The title of Barton Fink's play 'Bare Ruined Choirs' is from William Shakespeare's Sonnet #73, the first 4 lines of which are "That time of year thou mayest in me behold, When yellow leaves or none or few do hang, Upon those boughs that shake against the cold, Bare ruined choirs where late the sweet bird sang". See more »
After Barton tacks up the first strip of wallpaper, he smoothes out the second strip and, in close-up, we see that the first thumbtack is not there. See more »
[questioning Fink about Mundt]
Trying to think. Nothing, really. He... he said he liked Jack Oakie pictures.
You know, ordinarily we say anything you might remember could be helpful. But I'll be frank with you, Fink. That is not helpful.
Notice how he's not writing it down?
See more »
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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