‘A Serious Man’ On Netflix: Revisit One Of The Coen Brothers’ Weirdest Most Wonderful Films
Their Oscar-winning Best Picture froman adaptation of novelist Cormac McCarthy 's No Country for Old Menwas the brothers' most serious and somber film, and also one of their best. It seriously wrestles with evil in the modern world—something that even the most impressive earlier Coen stories fail to engage with appropriate depth. For instance, the finale of the brothers' Barton Fink strongly points to a form of spiritual chaos at the heart of the story, but the film never offers a serious investigation of Fink's malaise. Instead, the life of the mind takes center stage, and enough oddball characters keep the story moving amusingly along, until a final, fiery encounter that forces Fink to confront the effects of his self-absorption.
I know lots of people tout Joel and Ethan Coen's films as accomplished, and probably a lot of erstwhile people say they're just lots of unresolved little stories. You know, the way they're always, always ending devoid of true resolution, and with equal parts sadness and mystery. One sign of a Coen brothers movie: when it ends, you have more questions than you did when it began. It strikes me as the truest of storytelling -- because, there's no cleanse resolution in real life. What struck me the most in the Coen bros.
The Coen Brothers have made a calling of making mainstream movie audiences acknowledge the weird and the quirky. About as remarkable as the quality of their films is the fact so as to they are also generally popular. Fargo, The Big Lebowski, and No Countryside For Old Men are each actually strange movies, and it is a considerable marvel that they each allow dedicated popular fan bases. Perhaps this enduring popularity is because their films very often have something to clarify us. Added to this family calamity is the trouble Larry is having at work with a Korean apprentice, Clive David Kang who has apparently tried to bribe Larry for a grade and thus has complicated his ability to achieve tenure. The big screen narrates the plight of the acutely good, but overly-rational Larry as he seeks the wisdom of his assurance in trying to make meaning absent of the apparent meaninglessness of his suffering. And as if to audaciously announce its intention to confound its main character, the film also seeks to confound its viewers by aperture with an extended Yiddish-language folk account, set in an ancient shtetl, a propos a possible dybbuk played by Yiddish theater legend Fyvush Finkel. The mini-film has seemingly nothing to do along with the plot of the movie after that its presence instantly confounds the coherent expectations of the audience. Larry enters a state of existential crisis as the logic of his life has broken down.
The curse appears to have traveled all the way through time and infected the life of a Jewish college physics professor active in in a Midwestern suburb. Larry Gopnik Michael Stuhlbarg tries hard en route for follow all the social rules. So as to is, until his wife Judith Sari Lennick tells him she wants a divorce. Demanding from the cuckolded companion a religiously sanctioned divorce, Sy add declares it logical that Larry action out of the house. With hyperrealistic images, the film makes its points and creates its moods. Every allocate of props, set and wardrobe has been carefully configured. Every gesture after that mannerism in the remarkable performances allow clearly been planned out by the directors.
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