If you're going to watch a Coen Brothers movie, you have to know what you're in for. Unless you're watching one of their more mainstream films, preparing yourself for a bizarre, metaphorical, and perhaps inconclusive ride is a good idea. If you're not expecting the typical exposition, conflict, and resolution of most movies, a Coen Brothers film can be an extremely refreshing break from the usual fare. Barton Fink is no different.Barton Fink's story starts out simply enough. Fink (John Turturro) is a Broadway play write in New York who has just released a critically and commercially admired play. He then receives an offer he can't refuse: to make gobs of money in L.A. writing for the pictures. The transition isn't easy on Fink. There's his gregarious neighbor, Charlie (John Goodman), new bosses with strange business mentalities, and Fink's inconvenient case of writers block. The end of the film turns into a bizarre, abstract look inside a confused writer's head.
It has been suggested that Barton Fink is the Coen Brother's most personal film (though A Serious Man may have supplanted it). It provides an interesting take on the process of writing, and the delusions it places on a man who clearly has a skewed vision of himself. Barton Fink certainly has the Coen's pedigree: a meticulous script, beautiful cinematography courtesy of Roger Deakins, and terrific acting. The scenes between Turturro and Goodman are both engaging and hilarious; providing wonderful insight into the characters. The film's end doesn't resolve much at first glance, however I still found it extremely satisfying. As reality blends with the surreal, the powerful final scenes give you much to think about after the credits roll.
26/30
