‘God bless the Coen brothers,’ shouted an elderly man in the row in front of me during the previews of forthcoming attractions in a mid-town Manhattan Cineplex. It’s an agreeable sentiment, even if the movie that the trailer was for, Hail, Ceasar!, was a dud. But the Coens deserve our blessing; their comedies can be a little hit and miss, but they’d provides fresh and startling dramas, thrillers, plus this small but perfect little movie about art and music.
Davis, played in a breakthrough performance by Oscar Isaac, is something of a fixture of the New York folk scene. An early scene sees him disrupting a performance and getting attacked in an alleyway. We then see him waking up in an apartment, and we assume that he’s recovering from his hang-over. But actually, via a brilliant sleight of hand, we’ve moving back a week, and we’re watching the beginning of the painful journey that brought the singer/songwriter to such a point of despair.
Davis’s inadvertently exits his resting place with a cat, which proves to be his downfall. His attempts to find and replace it are unsuccessful, as are his attempts to pay his dues and re-join the Merchant Marines. His music career is going nowhere, and even those who help him out, like Adam Driver’s Al Cody, have a stash of remaindered records of his own. With Bob Dylan about the change the Greenwich Village scene forever, Davis takes a series of wrong turns and finds a number of closed doors, from F Murray Abraham’s executive to John Goodman’s addled musician, Roland Turner.
‘This will interest you…’ Turner says to Davis, before launching into a detailed story about his bowel movements. But why should the story of Llewyn Davis interest us at all? Perhaps because Isaac plays him so winningly, perhaps because everyone knows what rejection feels like, and perhaps because the Coen’s observe his world with such care and candour.
Perhaps it doesn’t scan as easily as most Oscar-season entries, or lacks a clear issue to mine, but Inside Llewyn Davis is a great, timeless film about art and artists. I went along to see the Coens’ festival chat about their own unique brand of cinema for a good two hours and learned nothing whatsoever about their motives. But perhaps that’s because their films speak so eloquently for themselves.
This is such a wonderful film. Heartwarming and tragic all at once, with incredible music as well.
Thanks for this comment, and yes, while I know people who don’t rate it at all, I found this an immensely moving portrait on an artist, and the music is great too!
I think this is a great film about the tragedy of not quite having the talent to match your ambition. I find it heartbreaking even if he is a bit of a git.
I feel he has the talent, but not the temprement. And maybe that failure makes him a git, but I still sympathise.
I still can’t post responses on your blog, and a Condorman reboot, fictional or not, is something I have opinions on.
Godammit! Thanks for letting me know, I’ll get the brains of the operation to look into that.
…and, if memory serves, he does get a bit of bad luck in not taking the royalties on that novelty song. He’s such a rich character. I am leaning towards this meaning the Coens’ best film.
It’s certainly on point, and nails a certain kind of artist.
I do wonder what someone who has never heard of them might make of something like this…
Super performance by Isaac. One of those films that’s going to irritate the hell out of you or if you are in the Coen loop thoroughly enjoy. they are a Hitchcockian pair – bear me out for this odd comparison – in that they never repeat themselves in terms of backdrop or character.
And yes, I particularly love the American cinema experience; travelled around, California, up to Portland and Seattle, over to North Carolina, up to Albany, down to Atlanta, all fantastic places to visit, and all offer a great movie experience. I miss going to the cinema, and going to America!
I just rewatched it!
Ahhh, I just looked at the date of this movie (2013). I was thinking this was something recent….
What were you doing in Manhattan? and was this before covid?
Yes, must have been about 2016 if Hail Ceasar was on the way. Love Manhattan!
I don’t think the Coens like talking about their work much, do they? Have they ever done a DVD commentary?
Don’t think so, they did a talk at Edinburgh Film festival, very unilluminating!