Barton Fink (1991)

Instant Favorite.

Fresh and Exciting

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

The acting in this movie is really good.

This is probably one of the most hermetic, personal and autobiographical films that the Coen Brothers have ever presented. Many people find it boring. I understand and I can even agree but I also believe that I understand, at least in part, what the directors wanted to tell us.There is a lot of common between the Coen's and Barton Fink, an idealistic intellectual Jew who idolizes ordinary people and, therefore, cannot see how stupid they are (the Coen's can). Suddenly, Fink is hired to write the script for a mediocre B movie about pugilism. The kind of movie ordinary people pay to see even today. Of course the script, by an intellectual full of ideals, would never be useful in these kind of film because Fink didn't know how to adapt himself to the task. He is far above ordinary men to realize what they want to see and that is why he would never please them. This is not just with Fink: today, the majority of people don't like theatre or art because it has become too elitist and intellectual to appeal the masses (taking theatre and the arts as an example, we can still think of classical music or even cinema).From this point of view, this film is deeply intelligent: it starts out as a very intellectual and hermetic film which will make the most idiotic audience flee from the theater and, then, it gradually becomes more "normal" through action and violence. Even so, it always contains some intellectuality, through elements and moments that the film never bother to explain (the importance and content of the box that Fink receives near the end, for example, a thing that left me confused and curious). Its as if the film, even making an effort to adapt itself, never ceased to be what it really is. In the midst of it all, I enjoyed the work of Turturro, which gave life to the protagonist. He knew how to make his character naive and dreamy. Fink sometimes seems so oblivious to the world around him that he seems to be stoned. What counts for him is the world he has inside his head. Very interesting, but difficult to swallow for commercial audiences.

To be helpful, I will say that if you enjoy dreamlike movies with dreamlike plots, you'll love this one. It has scenes of such total brilliance that they create doubts about other filmmakers wasting their time all these years. On the other hand, if you get your dreams for free at night and that's about all you need, you may not like this. It has some brilliant scenes, but no plot, nothing resembling a plot, tension as the eponymous Fink (why that name, you will wonder) struggles to fulfill his Hollywood assignment but the plot was axed by the movie executive in favor of what is, after all, a Dadaist wrestling movie. You'll understand that comment after the movie.If you enjoy a tightly plotted film in which template characters pursue a goal (e.g., the Mission Impossible films), and you just want a story, without an admixture of meaning, you will probably hate this film. The brilliant scenes -- most of them involving John Goodman -- are character pieces, not plot devices. They advance nothing but themselves. Because there's no plot, remember. I could appreciate several great scenes, including the conversations between Barton Fink and his neighbor, the overbearing film director, and the two caricatured police detectives, but frankly the Mulholland Drive -- like nonplot drove me nuts. Because I get my dreams for free at night; when I buy entertainment, I prefer a plot as well as surreal imagery and character scenes, however well done. Call it a 5.

This movie leaves me cold. Fink (John Turturro) is a one-hit playwright who wants to produce great plays about "the dignity of common man," ala Clifford Odets, but is enticed to go to Hollywood and write a screenplay for a Wallace Berry-type wrestling movie. The job of writing this screenplay seems simple to the Hollywood producer: Just write it! But, Fink is a perfectionist with no new ideas; he merely sits alone in his hotel room looking at the blank sheet of paper in his typewriter—writers block. John Goodman plays Finks' strange neighbor from an adjoining room in the hotel. As I say, this movie DOES leave me cold. Actually, it just depressed me. Is it just another self- parody on Hollywood.

Ever since the day those brave pioneers came out west from the east coast with dreams of sunshine and perfect weather conditions for making movies, that ideal known as Hollywood (not the place, but the state of mind) has dashed many hopes and dreams. Whether it be for the phoniness of the people, lack of artistic respect of how movies are made and the absence of creative aspects has turned off many artists. Writers have exposed the shady world of filmmaking, both in California and abroad, and when Hollywood does it and gets away with it, it is practically a work of genius.Praised playwright John Turturro finds that Broadway success make him wanted buy the biggest movie studio in Hollywood and when he arrives, he's fine he has been given a story he has no passion about. Struggling to find ideas in a dilapidated Beach Hotel, he meets wacky neighbor John Goodman (who turns out to be quite off the beam), finds a hopeful mentor in alcoholic author John Mahoney and falls in love with Mahoney's younger mistress/secretary, Judy Davis. Slowly but surely, Turturo finds out how Hollywood works behind the scenes, hiding scandal, building and breaking careers (and hearts), and ultimately how profit is more important than artistic integrity. Oh, and don't forget about the mysterious box that Goodman leaves behind.An excellent cast walks around a very avant garde set (which got a well deserved Oscar nomination) as if they were in an ongoing dream state. The hallway set alone in the hotel is worthy of that honor. Oscar nominated Michael Lerner plays the flamboyant but crude studio head, with Tony Shalhoub outrageous as well as the talent scout who becomes his adviser. Steve Buscemi also steals scenes as the hotel clerk dressed in bellboy attire. While Lerner is excellent, I would have preferred the Oscar nomination go to Goodman, then very successful on T.V.'s "Roseanne". For those who have gone to Hollywood hoping for some sort of success in film, whether it be in front of the camera or behind the scenes, it is a revelation especially if you have decided want you got there that it's not worth the destruction of your ethics. I am one of those who thought of a career as a film editor but unwilling to compromise my personal standards decided to remain a fan of the movies from afar. Like "Sunset Boulevard", "The Bad and the Beautiful", "The Big Knife" and others, this doesn't ask for apologies for biting the hand that feeds it, and in the end, got applause for taking a chunk out. It might not be for all tastes (as are most Cohen films), but artists should totally check it out.