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Inside Llewyn Davis (2013)

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A week in the life of a young singer as he navigates the Greenwich Village folk scene of 1961.

Directors:

Ethan Coen, Joel Coen

Writers:

Joel Coen, Ethan Coen
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Popularity
2,045 ( 112)
Nominated for 2 Oscars. Another 47 wins & 170 nominations. See more awards »

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Cast

Cast overview, first billed only:
Oscar Isaac ... Llewyn Davis
Carey Mulligan ... Jean
Justin Timberlake ... Jim
Ethan Phillips ... Mitch Gorfein
Robin Bartlett ... Lillian Gorfein
Max Casella ... Pappi Corsicato
Jerry Grayson ... Mel Novikoff
Jeanine Serralles ... Joy
Adam Driver ... Al Cody
Stark Sands ... Troy Nelson
John Goodman ... Roland Turner
Garrett Hedlund ... Johnny Five
Alex Karpovsky ... Marty Green
Helen Hong ... Janet Fung
Bradley Mott ... Joe Flom
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Storyline

Follow a week in the life of a young folk singer as he navigates the Greenwich Village folk scene of 1961. Guitar in tow, huddled against the unforgiving New York winter, he is struggling to make it as a musician against seemingly insurmountable obstacles -- some of them of his own making. Written by Production

Plot Summary | Plot Synopsis

Genres:

Drama | Music

Motion Picture Rating (MPAA)

Rated R for language including some sexual references | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA | UK | France

Language:

English

Release Date:

10 January 2014 (USA) See more »

Also Known As:

Balada de un hombre común See more »

Filming Locations:

Medford, Minnesota, USA See more »

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Box Office

Budget:

$11,000,000 (estimated)

Opening Weekend USA:

$405,411, 8 December 2013, Limited Release

Gross USA:

$13,235,319

Cumulative Worldwide Gross:

$32,935,319
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | SDDS | Datasat

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Shooting was complicated by an early New York spring, which interfered with the bleak winter atmosphere that prevails throughout the film, and by the difficulty of filming several cats, who, unlike dogs, ignore the desires of filmmakers. On the advice of an animal trainer, the Coens put out a casting call for an orange tabby cat, which is sufficiently common that several cats would be available to play one part. Individual cats were then selected for each scene based on what they were predisposed to do on their own. See more »

Goofs

The drum kit seen in the background of the studio recording scene is from a much later period. See more »

Quotes

Elizabeth Hobby: This is my first time playing in New York...
Llewyn Davis: [from the audience, drunk] How'd you get the gig, Betty?
See more »

Crazy Credits

At the end of the credits is an image (in Hebrew and English) declaring the film "Kosher for Passover". See more »

Connections

Featured in 71st Golden Globe Awards (2014) See more »

Soundtracks

Storms Are on the Ocean
Written by A.P. Carter
Performed by Nancy Blake
See more »

Frequently Asked Questions

See more »

User Reviews

 
Don Quixote with a guitar
17 December 2013 | by saschakriegerSee all my reviews

No doubt: Llewyn Davis is a loser. First, his career as a folk singer is going badly: his duet partner committed suicide, his record isn't selling, he makes so little that he cannot afford his own apartment but has to move from friend to friend, or rather from acquaintance to acquaintance. Secondly, as far as human relationships are concerned, he is a total failure. His ex girlfriend despises him, one of her predecessors faked an abortion to have him out of her – and the mutual child's life – people who are sympathetic to him, get a rather rude treatment on a daily basis. After A Serious Man, the Coen brothers have again chosen to depict a man on the wrong side of luck. Only this time, one might say he deserves it. Or maybe not, for he has one redeeming feature. The film opens with a long scene in which Davis (Oscar Isaac) performs a sad old folk song. The camera gently hovers around him, catches the hushed, intensely attentive atmosphere of the smoky basement club, while he sucks his audience – us – into the dark, sorrowful world he creates in his song, hinting at a depth he so often will not show in "real life". It is this contrast, the dialogue between the sadly funny tale of a modern Don Quixote and that other, older, tenderer story, the music tells. For as much as this is Llewyn's story, it also is that of the redeeming power of music. For even if Davis is the same at the end as the story comes full circle and returns to its opening, as he once again gets beaten up and is succeeded on stage by a young, cocky folk singer with a nasal voice who will soon change music – and not just folk music – forever, there is just the tiniest hint that this Llewyn Davis might have some sort of promise after all, maybe not as a successful singer, but as a human being. Inside Llewyn Davis is inspired loosely by the story of Dave van Ronk, a star of the Greenwich Village folk scene around the time of Bob Dylan's arrival there in 1961. Dylan learned a lot from van Ronk and stole some of his most promising songs, but that is a story to be told another day. This one is about a man lost in a world that hasn't been waiting for him, who has a mission that is entirely his own. The lengths to which he goes to show the world he doesn't care are astounding. And yet he craves love. Oscar Isaac is a miracle: even in his most repelling state, in his most rejecting attitude, there is a flicker of sad longing in his face, his eyes, a face the Coens show us much of. It is one you need to dive into, closed to the casual observer but hiding so much pain and uncertainty and desire to live one sometimes thinks it must explode. The Coens' cinema is one of subtlety, of nuanced, of shades of grey between the black and white. In Isaac, they have found their perfect actor, heading a stellar cast including Carey Mulligan, John Goodman and Justin Timberlake. As so often, the Coen brothers are masters at creating an atmosphere, a universe of its own, unique as well as absolutely consistent. It is a world of the night, in which grey shades reign, days are pale and dust is everywhere. Even in the open there is a sense of narrowness, of tight spaces, lightless basements that are cage and protective space in one. It is the tiny holes that provide the only rooms for creativity, for the soul to speak. And so it is that the dark world of the underground gradually regains some warmth and coziness, the dark becomes a zone of comfort, while everything else becomes cold and distant. Having said all this, Inside Llewyn Davis is first and foremost a comedy in the Coenesque sense of the term. It is a Quixotic tale full of quirky characters at time bordering on the fairy-tale like – especially true for the sequence around Goodman's character, a trodden-down mixture of villain and clown that calls up associations of the expressionist nightmare world of their earlier film Barton Fink. The other foot of the film is firmly on the ground, in the existential struggle of a man the world won't welcome. But there is still that third element: music, that timeless realm of love and pain and suffering and hope. It is here the film is anchored, it is here this Don Quixote conquers his windmills, armed solely with his guitar. It is here it all comes together. Tragedy, comedy, fairy tale, social drama, held together by the softest of touches. Another Coen brothers masterpiece. What else could be expected?


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