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
Chris Eldridge, guitarist of Punch Brothers, is shown on the album cover of the Timlin & Davis album "If I Had Wings." In this visual only he portrays Mike Timlin, Llewyn's former partner in the duo Timlin & Davis. Punch Brothers contributed heavily to the music and soundtrack of the movie, as well as being the "house band" for the concert "Another Day, Another Time: Celebrating the Music of 'Inside Llewyn Davis'" staged months before the film's release. See more »
Pappi calls Davis after he finishes the session, this scene is there in the beginning and at the end. Both are two separate shot twice(same scene recorded twice), where they are same as per the story line.If you see, pappi calls davis by right hand in the front and the back side shots in the beginning scene, but in the last scene, he calls him by his right hand from the front side shot and by left in the back side shot. With that davis's leaning and the woman crossing differs in both scene. When it is the same scene, why did they record that twice? See more »
There have been movies made about musicians, both real and imagined, from End of the Century through I'm Not There, taking in The Future is Unwritten and A Mighty Wind. We've had almost every conceivable approach, from straight-up documentary through imagined version of events as well as completely invented bands, singers, songs, and concerts. Yet, I don't think that anyone has ever managed to do what the Coen Brothers have produced with this tragic, comedic, touching piece.
Which is to essentially transport you into the grooves of an LP, Inside Llewyn Davies, and bring you a beautifully realised portrayal of the eponymous hero as he trudges his weary way through the greys and greens of Greenwich Village in a cold New York. And it is so reminiscent of the experience of listening to your favourite vinyl album from track one, side one to the final track of side two, whilst curling up on the couch with a cat in your lap, listening to a selection of melodic, melancholic, traditional, and new folk music.
The music binds this movie together and Oscar Issac inhabits the title role in a world-weary way that aches with ennui and longs for something never expressed. We follow his tramping travails through a range of vignettes that build subtly towards creating a quite compelling picture of the man behind the music. He sometimes does what we expect and at other junctures, veers off in a mad new direction. There is little explanation for any of the decisions that he does, or doesn't, take. He's searching without any clear idea of the quest.
Along the way, we meet a wonderfully diverse bunch of supporting characters, from the biting Jean, acerbic tongue and acid looks, through the snoring bully Roland Turner and his valet Johnny Five, as well as Mitch and Lilian, the Upper West posh couple, but especially Ulysses, our hero's apparent companion over the week (or was s/he?). They all offer opportunities to understand Davies' psyche slightly more, albeit admitting that not even he appears to be fully cognisant himself.
It's a lovely looking film, beautifully shot and much more enjoyable that I would have believed possible from watching the trailer previously. T Bone Burnett has done a sterling job on the soundtrack, it's so affecting and the way that the songs are all allowed to play out saw the audience in the cinema in which I saw this mainly remaining seated through the end credits as well. Which brings me back to the vinyl album sensation. You don't pick up the needle when your favorite record is playing the final track, because you want to get on with something else instead. No. You let it run right to the end of the groove and then your heart fills with an equal mixture of pleasure and joy, sorrow and sighs, as the last bars fade to quiet and all that's gone before becomes a memory that's so strong and so addictive that you want to turn it over and put the needle back into the groove all over again.
This movie is precisely like that sensation and I loved it, from first frame to last. A quiet understated tragi-comedy, dark in places, and shadowy in others, but with a humanity and a compassion that you cannot avert our gaze from. Hell, it's even got a coda of a scene to be dealing with, which at the end takes your mind back to the start of the production and forces one to reexamine what has just passed before your eyes. Recommended.
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