Inside Llewyn Davis Imdb Neue Kritiken
()IMDb h 40minX-Ray. INSIDE LLEWYN DAVIS follows a week in the life of a young folk singer as he navigates New York City's folk scene of Inside Llewyn Davis [dt./OV]. ()IMDb h 40minX-Ray6. New York, Llewyn Davis lebt für die Folkmusik, doch der große Durchbruch lässt auf. office-comsetup.co - Kaufen Sie Inside Llewyn Davis günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. | office-comsetup.co; Cannes Grand Prix winner Inside Llewyn Davis to release in India 14 November | office-comsetup.co; 20 films you. Inside Llewyn Davis. IMDb 7,51 Std. 44 MinX-Ray18+. An aspiring singer-songwriter navigates the s folk-music scene in New York City's Greenwich.
Bilder, Inhalt, Synopsis, Beschrieb, Trailer zum Film Inside Llewyn Davis. min. IMDB-Rating: /10 Llewyn Davis est à la croisée des chemins. Inside Llewyn Davis. IMDb 7,51 Std. 44 MinX-Ray18+. An aspiring singer-songwriter navigates the s folk-music scene in New York City's Greenwich. Inside Llewyn Davis [dt./OV]. ()IMDb h 40minX-Ray6. New York, Llewyn Davis lebt für die Folkmusik, doch der große Durchbruch lässt auf.
Inside Llewyn Davis Imdb - Ein Film von Ethan & Joel CoenFat boy Kamran Nury Quan Language: Kurdish. Kommentare Es gibt bisher noch keine Kommentare. Add the first question. Full Cast and Crew. INSIDE LLEWYN DAVIS follows a week in the life of a young folk singer as he navigates New York City's folk scene of IMDb 7,51 Std. 40 MinX-Ray16+. Filmkritik zu Inside Llewyn Davis. Die Coen-Brüder drehen eine gedächtnislose Hommage an Folkmusik, die es nie gab. 'Inside Llewyn Davis', Matthew McConaughey, and Brie Larson took home top prizes at the Gotham Awards. Click the link to see the full list of winners. IMDB. Kinoplakat: Inside Llewyn Davis. Ein Film wie Llewyn Davis lebt für die Folkmusik, doch der große Durchbruch lässt auf sich warten. Während sich in. Bilder, Inhalt, Synopsis, Beschrieb, Trailer zum Film Inside Llewyn Davis. min. IMDB-Rating: /10 Llewyn Davis est à la croisée des chemins.
As he leaves, their cat escapes and is locked out of the apartment. Jean informs Davis that she is pregnant, and that Davis could be the father.
The next morning, Davis opens a window and the Gorfeins' cat escapes the Berkeys' apartment. Later, Jean asks Davis to pay for an abortion, though she is upset it may be Jim's child she is losing.
Davis visits his sister, hoping to borrow money. Instead she gives him a box of his belongings, which he tells her to leave outside by the curb.
She mentions that he could make money by returning to the Merchant Marine. Davis looks to set up the appointment for the abortion, only to learn that payment will not be necessary, as he has credit with the gynecologist's office due to already having paid for the same procedure two years earlier on behalf of another woman who did not go through with it or inform Davis of her decision to raise the child in her hometown of Akron, Ohio.
Asked to perform a song after dinner, he reluctantly plays " Fare Thee Well ", a song he had recorded with his old partner, Mike. When Mrs.
Gorfein starts to sing Mike's harmony, Davis becomes angry and tells her not to. She leaves the table crying, then returns with the cat, having realized it is the wrong gender and thus not theirs.
Davis leaves, taking the cat along. Davis rides with two musicians driving to Chicago: the laconic beat poet Johnny Five and the jazz musician Roland Turner.
During the trip Davis discloses that his musical partner, Mike Timlin, died by suicide. At a roadside restaurant, Roland collapses from a heroin overdose.
The three stop on the side of the highway to rest. When a police officer tells them to move on, he suspects that Johnny is drunk and tells him to get out of the car.
Johnny resists and is arrested. Without the keys, Davis abandons the car, leaving the cat and the unconscious Roland behind.
In Chicago, Davis auditions for Bud Grossman, who says Davis is not suited to be a solo performer but suggests he might fit into a new trio Grossman is forming.
Davis rejects the offer and hitchhikes back to New York. Driving while the car owner sleeps, and distracted by the nighttime lights of nearby Akron, he hits a cat; it slowly limps into the woods as Davis watches.
He searches for his seaman's license so he can ship out, but it had been in the box he told his sister to trash.
He visits Jean and she tells him she got him a gig at the Gaslight. At the Gaslight, Davis learns that Pappi, the manager, also had sex with Jean.
Davis drunkenly heckles a woman as she performs on stage and is thrown out. He goes to the Gorfeins' apartment, where they graciously welcome him.
There, he learns that the novelty song is likely to be a major hit with massive royalties. He is amazed to see that their actual cat, Ulysses, has found his way home.
In an expanded version of the film's opening scene, Davis performs at the Gaslight. Pappi teases Davis for his heckling the previous evening's singer and tells him that a friend of his is waiting in the alley.
As he leaves, Davis watches a young Bob Dylan perform. Behind the Gaslight, Davis is beaten by the shadowy suited man for having cruelly heckled his wife, the previous night's performer.
Davis watches as the man leaves in a taxi, bidding him "Au revoir". Well before writing the script, the Coens began with a single idea, of Van Ronk being beaten up outside of Gerde's Folk City in the Village.
The filmmakers employed the image in the opening scenes, then periodically returned to the project over the next couple of years to expand the story using a fictional character.
According to the book's co-author, Elijah Wald , the Coens mined the work "for local color and a few scenes".
That concerned us at one point; that's why we threw the cat in. 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 filmmakers' directions.
On an animal trainer's advice, the Coens put out a casting call for an orange tabby cat , since they are sufficiently common that several could play one part.
Individual cats were then selected for each scene based on what they were disposed to do on their own. StudioCanal helped finance it without an American distributor in place.
StudioCanal has rights to international distribution and foreign sales. Dave Van Ronk's music served as the Coens' starting point for the script, and many of the songs first designated for the film were his.
Both feature the artist in a doorway, wearing a tweed jacket and smoking a cigarette. Other songs emerged in conversations between the Coens and T Bone Burnett , who produced the music in association with Marcus Mumford.
The humorous novelty song "Please Mr. Kennedy", a plea from a reluctant astronaut, appears to be a fourth-generation derivative of the song " Mr.
Custer ", also known as "Please Mr. A Tamla-Motown single followed in "Please Mr. Isaac, Timberlake, Mulligan, Driver and others performed the music live.
Timberlake's vocal range was on display in the film. Critic Janet Maslin , listening to the soundtrack, mistook Timberlake's voice for Mulligan's, which she thought resembled that of Mary Travers.
It opened in additional theaters on December 20 and wide on January 10, On January 19, , The Criterion Collection released a DVD and Blu-ray of the film, featuring new audio commentary tracks, interviews and other special features, including a minute documentary, Inside "Inside Llewyn Davis".
The website's critical consensus states: "Smart, funny, and profoundly melancholy, Inside Llewyn Davis finds the Coen brothers in fine form.
Writing for The Village Voice , Alan Scherstuhl praised the film: "While often funny and alive with winning performances, Inside Llewyn Davis finds the brothers in a dark mood, exploring the near-inevitable disappointment that faces artists too sincere to compromise—disappointments that the Coens, to their credit, have made a career out of dodging.
The result is their most affecting film since the masterful A Serious Man. Folk singers have criticized the film for misrepresenting the friendliness of the Village folk scene of the time.
Terri Thal, Dave Van Ronk's ex-wife, said, "I didn't expect it to be almost unrecognizable as the folk-music world of the early s.
From Wikipedia, the free encyclopedia. Theatrical release poster. Joel Coen Ethan Coen. Murray Abraham Justin Timberlake.
United States France . See also: Inside Llewyn Davis soundtrack. Main article: List of accolades received by Inside Llewyn Davis.
British Film Institute. Retrieved July 30, Chicago Tribune. Tribune Company. Retrieved January 12, Box Office Mojo. Retrieved March 13, Inside Llewyn Davis official site.
Her pure disgust and expert rendering of the F-word and anger contrasts with her angelic onstage persona with husband Jim Justin Timberlake.
As always, the Coens provide us a constant flow of interesting and oddball characters. This may be the most touching musical moment of the movie "The Death of Queen Jane" , but it's clearly the wrong song for the moment.
Oscar Isaac is exceptional as Llewyn Davis. He captures that crisis of self that's necessary for an artist whose talent and passion is just out of step with societal changes.
We feel his pain, but fail to understand the lack of caring he often displays towards others. We get how his need for money overrides his artistic integrity as he participates in the novelty song "Please Mr Kennedy".
Why Isaac's performance is not garnering more Oscar chat is beyond my understanding. It's possibly due to the fact that the movie and his character are not readily accessible to the average movie goer.
Some thought and consideration is required. If you are expecting a feel good nostalgic trip down the folk singer era of Greenwich Village, you will be shocked and disappointed.
Instead, brace yourself for the trials of a talented musician who believes the music should be enough. Speaking of music, the immensely talented T Bone Burnett is the man behind the music and it's fascinating to note how he allows the songs to guide us through the story and keep us ever hopeful of better days.
This is the Coen Brothers at their most refined and expert. 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. 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.
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. 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 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.
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.
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? Their films are extremely varied ranging from dark comedies to westerns or thrillers and that is why people rank their films so differently according to their own genre preferences.
What these films tend to have in common is that they focus on an unfortunate main character the Coen brothers don't seem to be too interested in successful characters and they also include a lot of quirky characters.
The Coens are also great at writing interesting characters that despite being unpleasant at times still capture our attention, and they also include a lot of dark and sharp humor.
Inside Llewyn Davis is one of those films where we are forced to follow an unpleasant guy in the course of a week and somehow hope he recovers and achieves his goal.
This is a film that you probably enjoy more when you think about it once it's over or on a rewatch because it's philosophical and sad, but rewarding none the less if you stick through it.
It is also open to many readings and interpretations. You can think of this as being an honest film about someone who doesn't achieve his dreams.
We've been saturated with so many films that focus on following our dreams and never giving up on them, but it is rare to see a film focusing on someone who doesn't achieve them.
Like Llewyn, we sometimes throw away other possibilities for success because we are too blinded on pursuing our own thing.
That is exactly what happens here and in this way it differs from A Serious Man where the main character suffers misfortune from things that he can't control.
Llewyn could've listened and taken good advice, but he's so narcissistic and blinded by his own ambition that he misses several good opportunities.
Another way you can read this film, and this is the one that worked best for me, is that Llewyn is learning to cope with the loss of his partner.
He was a better singer when he wasn't on his own and now that he has lost his partner he doesn't seem to know what to do next.
He is a tortured artist struggling to cope with grief. It's as if the Coens were admitting that they wouldn't know how to make films without each other.
They inspire one another and that is where their success relies. Perhaps if something would happen to one of them they would feel like Llewyn, lost and unable to move on.
This is just brilliant filmmaking and the Coens prove once again that they are on top of their game.
The film takes place in the course of one week as we follow a struggling folk singer named Llewyn Davis Oscar Isaacs across Greenwich Village in the winter of He has recently released a solo album that isn't selling.
With no money and no apartment, Llewyn spends his days jumping from couch to couch at friends houses while performing small gigs at local Cafes.
Llewyn isn't really a guy anyone wants to be around much, but he continues to pursue his dream of becoming a solo artist. In a way he's his own worst enemy as many of the obstacles he faces are his own doing.
I'm not a fan of depressing films, but somehow the Coens captured my attention through their smart script and beautifully constructed film.
The gray cinematography is gorgeous and really sets the melancholic tone of the film. Somehow despite not liking Llewyn, Isaacs manages to portray his character so well that we do root for him and want him to succeed.
It's an impressive film that succeeds thanks to Isaacs heartfelt performance. We also get to meet some of the quirky characters that the Coens always include in their films.
John Goodman and Garrett Hedlund were the chosen ones this time around and they both added the dark humor in this otherwise sad and melancholic film.
The soundtrack is also a lot of fun to listen too and Isaacs has a great voice. Inside Llewyn Davis is an intimate, well-executed, and honest slice of life.
It features a humanistic, heartfelt performance by Oscar Isaac as the titular folk singer, arresting cinematography, and a sharp, tight-fisted script by the Coen brothers, who also directed.
It's Greenwich Village in the early sixties, when folk music was either coming into its own or ready to be usurped by a more mainstream genre.
Llewyn has no home, drifting from gig to gig and crashing on couch after couch as a matter of design; is vagrancy is his life's plan.
Llewyn is at turns a noble soul who exists for the sake of making the music he wants to make and a resentful twerp who mooches off friends just to sustain his unsustainable lifestyle.
The movie is only somewhat linear, with closing scenes mirroring opening scenes, and it is told entirely from Llewyn's point of view.
The Coen brothers masterfully show us not only Llewyn's perspective but also an outside perspective; this allows us to feel both empathy and loathing toward him.
Llewyn is nothing if not complex. It's not that Llewyn is constantly sneering at everyone, holding his poverty up as both a shield and a trophy, it's that he is so multilayered that when he does a kind act or offers some praise or thanks, we don't feel that his doing so is in any way out of character.
Llewyn is a self-tortured soul, but unlike caricatures of wandering folkies, he is at his center a realist, albeit a prideful one.
During his travels and travails, Llewyn encounters people ranging from the genuine his singing friends Jim and Jean, played by Justin Timberlake and Carey Mulligan to the absurd a rotund, blustery John Goodman.
Oh, and a cat that travels with Llewyn - at least until he can get him or her back to the owner. The encounters with the genuine folks feel just as normal as if you or I encountered them; those with the more absurd of the lot feel perfectly surreal, and when they do end one almost wonders if we've all imagined the encounters through Llewyn himself.
The music is beautiful and moving. Isaac himself performs Llewyn's songs, with a sweet, vulnerable voice that offers a touch of soul to Llewyn's otherwise-bleak surroundings.
When Llewyn is really on, you can feel his pain leap right off the screen into your brain; when he appears to be going through the motions and not singing from his heart, you can feel the lack of depth that his intended audience also feels.
Isaac is just flat-out terrific. Ultimately, it is Isaac and the music that push this film into the territory of great cinema.
The story itself is stark, moody, unyielding - just like a New York City winter, really. And the movie, like Llewyn's own life, appears to have no point - except to illustrate just how pointless Llewyn is making his life, through his stubborn marriage to his craft and a desire to stay uprooted.
The city was cold and dreary, much like the s Manhattan depicted in this film. I sat with my friend after the movie and basically railed against the film for the first ten minutes before slowly admitting that my criticisms were obviously the intended result and that the Coen Brothers have once again made a great movie that is simply not easy to digest and certainly not fun to digest.
I'll lead with the greatness. The underlying takeaway of this film is that the actual creation of music - the sound, the beauty and the lyrical story - can embody some of the best attributes about humanity and yet, the creator of such music can nonetheless lack all such attributes and essentially be as ugly a person as his music is beautiful.
That is the takeaway, and the Coen Bros intentionally force this upon the viewer. The folk songs song by Lleywn serve as calming beautiful interludes and as stark contrasts to the plot driven by a character who is simply put, a terrible human being stuck in an extremely frustrating, self-made vacuum of an existence.
I assume that most people, like me, gravitate toward wanting to root for the struggling artist.
There is a nobility in pursuing your dreams when such dreams consist of the pursuit of an art form. Here, folk music is put on a pedestal and LLewyn's pursuit of it is from the outset, something the audience implicitly will support.
In the course of 90 minutes, the Coen Bros force you to question this support, hate the lead character and eventually cheer when he gets punched in the face.
The problem is simple. I did not want any more of LLewyn Davis after 90 minutes. I did not want to hear his music anymore because the lyrics he sung were fraudulent, the beauty of his playing, a guise.
And due to his self-made failings throughout the film, I no longer cared where his story went. The Coen Bros could have taken the plot line in any number of ways to give the viewer some foothold to hope that Llewyn may end up on the right track one day.
They do not give you that foothold, and for that reason, I was pretty ready for this movie to end when it did.
This is admittedly a criticism, but more an observation. I certainly do not need films to end with rainbows and hearts, but this script really forces you to watch a man stuck in a static world where his own actions cause him to go nowhere, and that is a frustrating world to inhabit for 90 minutes.
The best parts of the film are not the Manhattan scenes, but the drive LLewyn takes to Chicago. The Coen Bros have used the theme of "driving at night" time and time again to make some great scenes, usually emotionally charged personal voyages.
This is no different. Their cinematography and over all character driven story telling shines when their lead characters hit the road.
The bit characters are fun and unusual in the Coen Bro's way, but do little to ease the 90 minutes of crass, immature, self-defeating, out-of-touch and eventually just pathetic life movements from Lleywn's character For Coen Brother fans, its worth the journey; for general movie fans, be warned, as this is an interesting film, but arguably not an enjoyable one.
Saw the prescreening at the Michigan Theater in Ann Arbor, MI with average expectations, this is my reaction: This film is an experience, but not for any sort of superficial special effects, action or CGI.
It's an experience in which you will feel fear, joy, hate, hope, sorrow and contempt all within an hour and 45 minutes that feels more like 15 minutes.
We are sidelined, watching a short snippet of Llewyn's seemingly dismal life, drudge on by, yet we are drawn. We connect with Lleywn's anger and struggles, as if we too are burdened by his failures and challenges.
But amongst the bad, there are moments of cheer, and laughter and peace reminding us that good still exists. What dominates is power, balanced by music, money and pride, yet this movie is better served as a reminder that life is an experience, and individualistic.
We are reminded that more often than not, things do not fall into place and luck is rarely on our side.
But no matter how many times people fail you, one should never fail, before one's self. This movie is an experience, it indirectly breaths life into each of our souls, and should appeal to anyone in touch with the most crucial human emotions: compassion and empathy.
Hold on tight, because it is one experience that will remain with you long after the credits are through.
Perfectly casted, perfectly scripted, perfectly filmed; perfectly entertaining. 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. 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.
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.
At some point of this the folk singer we've been following is stranded at night by the side of the road in a car with possibly a dead man and a cat, another man has just been arrested by police for not much of a reason.
He gets out to hitch a ride and there's only a cold, indifferent night with strangers in their cars just going about.
This is the worldview the Coens have been prodding, sometimes for a laugh, sometimes not. I can't fault them, it does seem to be inexplicably cold out there some nights.
They're thinkers first of all, intellectuals, so it stings them more so they try to think up ways of mocking that thinker who is stung by the cold to amuse themselves and pass the night.
So this is what they give us here. A joyless man for no particular reason, who plays decent music that people enjoy or not for no particular reason, who the universe has turned against.
The Coens don't pretend to have any particular answer either of why this is, why the misery. It might have something to do with having lost a friend, something to do with not having learned to be simply grateful for a small thing.
It might have something to do with something he did, the initial beating up in the alley is there to insert this. Sometimes it's just something that happens as random as a cat deciding to step out of the door and the door closing before you can put it back in.
Most of the time it all kind of snowballs together. It's a noir device the beating - cat bundling guilt with chance so we'll end up with a clueless schmuck whose own contribution to the nightmare is inextricable from the mechanics of the world.
The Coens have mastered noir so they trot it here with ease: the more this anti-Dude fails to ease into life the more noir anomaly appears around him.
Of course the whole point is that it's not such a bad setup; people let him crash in their apartment, a friend finds him a paying gig, somehow he ends up on a car to Chicago where he's offered a job.
It's not great either, but somewhere in there is a pretty decent life it could all amount to, provided he settles for less than his dream.
This means here a dream the self is attached to. I saw this after a documentary on backup singers, all of them profoundly troubled for having settled for less, all of them nonetheless happy to be able to do their music.
Still, 'The incredible journey', seen on the Disney poster, may in the end amount to no more than an instinctive drive through miles of wilderness.
The Coens are cold here even for their standards. I wouldn't be surprised to find it was Ethan, the more introverted of the two, ruminating on a meaningless art without his partner.
Is there a way out in the end? Here's the trickiest part, especially for an intelligent mind. You can't just kid yourself with any other happiness like Hollywood has done since Chaplin.
You know it has to be invented to some degree, the point of going on, yet truthful. Nothing here. More music, a reflection.
It's the emptiest part of the film as if they didn't know themselves what to construct to put him back on stage. Visually transcending was never their forte anyway.
They merely end up explaining the wonderful noir ambiguity of that first beating. Still they are some of the most dependable craftsmen we have and in the broader Coen cosmos this sketches its own space.
Inside Llewyn Davis is a hard film to quantify. It is very much a Coen Brothers movie, and it is very much its own thing.
I did not know the history of the story. I did not know the story behind the Gaslight club in New York nor did I know of the famous figure who started at the bar back in when the film takes place.
I found out after the film was over. However, not knowing that, I still thought this was an incredible movie. There are oddly poetic scenes in the film.
There is a scene where the main character Llewyn Davis hits a cat with his car. As he watches the cat limp away into the darkness injured, I felt that it was an interesting image that seemed to mirror Llewyn's life in the film.
Although I was aware of the poetic aspect of the film, I did not feel that they were forced moments. In interviews the Coen Brothers always seem to play dumb.
In an interview for this film the Coen Brothers talked about the cat in the movie, and how they didn't know what to do with the story, so they threw in a cat.
Anybody who has seen a Coen Brothers movie can appreciate that this is far from the truth. Every moment and image seems to be very specifically placed, and that was the case for this movie as well.
You can't judge this movie the same way you would judge every other film this year. It's almost as if the Coen Brothers have their own language that they are speaking, that the audience does not fully understand.
We catch some things, and even with those few moments, I was mesmerized. Sometimes I really notice their style like in their film A Serious Man, and I find myself confused and bored, but this film felt very true to me.
I sympathized with the main character and his struggles, perhaps because I consider myself a creative person as well, so I know how hard it is.
At one point Llewyn says, "I'm just so f-ing tired," this line says a lot more than just I want to sleep. It is something we can all relate to, a feeling of just wanting to give up, and in this way, the story is a universal one, but then again it's the Coen Brothers, so automatically I know some people might not like it, but I loved it.
It's like a gust of wind that never stops. I was altered, disturbed and amused by the clarity of this poets. Aware but never condescending to the audience.
No explanation as to why this story deserved to be told. The answers are private, deeply personal, enlightening and, at times, chillingly transparent.
The face of Oscar Isaac, my God! For me one of the most enthralling discoveries of At times it reminded me of an updated character in an Italian Neo-realistic film, others one of those images from one of Martin Donovan's sessions.
I sat through Inside Llewyn Davis twice in a row. I can't wait to repeat the experience soon again. It's amazing how dazzled one can be by so very little these days.
There's very little here--a struggling unpleasant man who sings his heart out about standard "folk" catastrophes but can't take care of himself as he goes about damaging others, and animals as well.
He's your 50's college roommate who cooks on a hot plate and sings about historic heroic starvations. The in- and-out mythic references are unfocused and a game for undergraduates.
When the Coens go flat it's not even E flat. We're forced to watch this guy's face for an hour or so without a clue to his demons; he's just a jerk, a driven jerk but a jerk nonetheless.
Best part is the recreation of the early 60's in cars, atmospheres, but then John Goodman shows up from "Where art thou?
Sorry, but the early folk scene wasn't this creepy and Bob Dylan didn't rescue it from oblivion or creepiness. Without a political or sexual agenda it got you chicks it did flounder, but it needed an audience for shifting values and social awareness.
One's suffering couldn't just be for one's art, but had to have a social dimension that this guy can't see.
A genius before his time? Hardly--a guy who can't take care of himself, or his friends or family or lovers--anything but "folk.
This might be the ethos of the Coens and their films themselves--within society but not of it. Their characters struggle with their messy quirky lives but we see them as curiosities rather than representatives of anything important.
There's a certain clown show aspect to their films, which creates their charm and fun but little else.
Turfseer 17 January The problem with the Coen Brothers is that in every one of their movies, they're looking through a glass half empty and never half full.
Oh yes, you'll find the usual excellent cinematography, casting, acting, direction and neat recreation of bygone eras. But what you'll never find is sympathy for your protagonist.
The Coen Brothers always pride themselves on standing above the fray and looking down on their anti-heroes. In essence, what they're saying is, 'we're good at exposing the underbelly of the dark side of Americana; applaud us.
People so clueless, so narcissistic, that they never listen to feedback from anyone else, so that they never change.
It's a rare individual who is so misanthropic, like the Coens' Llewyn, that you will ever run into him, in real life.
But even if there is such a character, does he really deserve to be immortalized in film? I hardly think so.
The Coen brothers had no problem in admitting that 'Inside Llewyn Davis' has little plot. More important is the fact that the story is devoid of a concrete antagonist.
The only antagonist is Llewyn's internal demon— which takes the form of myopia, cluelessness, and narcissism.
The demon never emerges into Llewyn's consciousness, so that perhaps he can reflect upon where he is going wrong.
Instead, we're asked to sit through a minute chronicle of an unlikeable mediocrity, who pursues a wrong-headed quest for fame and fortune in the folk music world of the early 60s.
Llewyn Davis is much more caricature than a real human being. The Coen brothers go out of their way to show just how much of a loser this guy is.
Are there really people like this? And unfortunately, sad sacks never make for good drama. What the film does have is lots of atmosphere.
There are some neat cinematic scenes, notably the one involving John Goodman as a sleazy, heroin-addicted jazz musician, who is a passenger along with Llewyn, on that trip to Chicago.
Rather than consulting all the positive reviews from 'professional' critics on Metacritic, you'll find some much more honest and insightful reviews in the review section of IMDb.
There, at least, is a sense that Llewyn Davis is not a believable character and if by chance, such misanthropes truly exist in real life, their journeys are certainly not worth being looked at, given the lack of change or growth.
If you like a straw man, Llewyn Davis is for you. The Coen brothers are experts at shooting straw men down--but such a maneuver should never bring praise and accolades; that's reserved only for the gullible!
So, yes, there will be extensive spoilers. After seeing this, I wonder if the Coen's have been hanging out with Woody Allen.
But, that's the only reason. Right from the outset, Llewyn Davis, the folk singer main character, is shown to be self destructive and depressed.
We wonder why this is as the movie goes on. We do learn a key reason why that is, the sudden suicide of his singing partner. And, we can sympathize with that to an extent.
But, apart from that, Davis gives us no reason to care any further. He does have to deal with a hyper angry girlfriend, who is only able to yell the same line at Davis again and again.
We are given little bits of hope for Davis here and there. Mainly in how he takes care of a cat that got out of an apartment where Davis was crashing.
Davis loses the cat, and finds who he thinks is the right cat, but isn't. When he returns to the apartment with the wrong cat to where the original cat lived, we get one hilarious joke that had me really laughing.
Davis leaves with that cat who wasn't the apartment dweller's. But, that seemed to be a turning point in the movie, as the quirky, funny moments that came before stopped.
From there, it got more and more dark and depressing. It's as if we are being made fun of for actually caring about Davis this whole time.
We are shown that he really doesn't care about anyone but himself. So, why should we care? The end wraps this up, where Davis is playing on a night when the New York Times is in attendance.
Davis performs passionately, for what seems like the first time. But, as it turns out, Bob Dylan follows Davis, on the historic night when Dylan received a positive review from the Times.
So, we are led to believe that Dylan is the one discovered, while Davis is again left out in the cold. I don't know if this film is supposed to be challenging somehow, or if it is just purposely depressing.
My guess is that it is supposed to be depressing. I don't think that the Coen's really care about their audience in this circumstance.
It is only that I saw the movie at a free preview that I'm not more agitated. As for the rest of the movie, the music is good, but fairly low key.
But, the music isn't as memorable. The cinematography in many recent Coen films has been by the great Roger Deakins. Here, it is by Bruno Delbonnel.
It has heavily desaturated color, and is pretty diffused. So, it isn't at all attractive. I would avoid this film until it is on disc or on cable.
That seems like an appropriate amount. KenToo 7 January I came away very disappointed. It is a slice of life, a week in the life of a struggling folk musician in My problem is that the main character is pretty much in the same place at the end as at the beginning.Die Coen-Brüder machen es dabei vielen recht: Inside Llewyn Davis interessiert sich für das Beziehungsdrama, das sich um Llewyn und seine frühere Geliebte entfaltet, fokussiert das Künstler- und Drifterdasein und den Brautladen Werdegang des Protagonisten, bei dem nicht zuletzt eine Katze namens Ulysses zum Handlungsmotor wird. User Reviews. Ein unendlich trauriger Film, das Portrait einer musikalisch interessanten Zeit, pessimistisch, in dem eine Katze für die einzige Link sorgt und F. Setting: Sulaymaniah, Iraqi Kurdistan, in check this out s. Jess Gonchor. Kommentare der Nutzer geben nur deren Meinung wieder. Woman in the Smugglers Car Khani Nabaz A young Kurdish mujahid, regrets his decision to join the jihadist movement.