Inside Llewyn Davis

Inside Llewyn Davis

The Coen
Brothers’ movies don’t look, sound, or feel like anyone else’s, and they assert
that individuality once again in Inside Llewyn Davis. Whether or not
you’re a fan, you have to admire their ability to put a personal stamp on everything
they do. I didn’t love their newest film, but I find myself thinking about it a
lot, from the wonderful music score (produced by T-Bone Burnett) to the
evocative look of early 1960s New York City. As usual, there are colorful “star
turns” for great character actors like John Goodman and F. Murray Abraham, rich
opportunities for such talents as Justin Timberlake and Adam Driver, and a
parade of striking but unfamiliar faces who add Coen-like texture to smaller
roles.

Then there’s
Oscar Isaac, who delivers a star-making performance in the title role. (He
impressed me with his charisma—and his musical ability—in a tiny film called 10
Years
, but that was just a warm-up for this expansive showcase.) Llewyn
Davis is a gifted folk singer and musician who is certainly his own worst
enemy: irresponsible, self-destructive, unwilling to compromise for the sake of
his foundering career. He manages to alienate friends, lovers, and business
associates with equal skill and thoughtlessness. The movie paints a vivid
portrait of apartment life in the City, the Greenwich Village nightclub scene,
and a typical recording studio of the time. The work of cinematographer Bruno
Delbonnel and production designer Jess Gonchor is superb.

But while
this chamber piece is well acted and meticulously crafted, down to the tiniest
detail, it’s not a film one can cozy up to. That’s not the Coens’ intention, of
course, but it almost seems as if they’re making an effort to push the audience
away—like their oddly-named protagonist. That’s why even after several months
(when I saw it at Telluride) I hold certain moments dear but can’t muster any
real affection for the film as a whole. I admire and respect what Joel and
Ethan Coen have created. They’ve given us a unique moviegoing experience, and
that’s no small achievement. It’s just difficult to recommend to anyone but a
Coen camp follower.

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Comments

Jeffrey

There was something a little tentative about this film's resolution.

filmklassik

They may be impeccable craftsmen, but the Coen Brothers have an attitude toward the verities of traditional storytelling that borders on contempt. Hey Joel and Ethan: There's a REASON these tropes have been around for so long. Because we, as human beings, LIKE them, and need them to feel satisfied.

mike schlesinger

Historically, the Coens have often kept audiences at arms'-length–but usually their disagreeable characters had some sort of redeeming qualities, such as a sense of humor or a kind of quirky charm. Sadly, not the case here, as almost every one of the principals is somebody you'd move to another time zone to avoid. Production-wise, it can't be faulted, and there are, as you say, a lot of fine things in it (I love "Please, Mr. Kennedy") but this ranks in the bottom third of my personal Coen rankings.

David

I'm not a huge Coen Brothers fan but I actually loved the film, the music, and acting. But I came of age during the folk music renaissance in the 60s.

BigMovie

this
a verygood movie.
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