Inside Llewyn Davis
Inside Llewyn Davis (2013)
★★ / ★★★★
Llewyn Davis (Oscar Isaac) is a folk singer-songwriter whose career is stuck in mud. He is certainly very talented but his unwillingness to bend from what he thinks is best has likely cost him a real shot at making it big. Combine his inflexibility with an inaccessible personality and circumstances that often lean toward bad luck, every day is an upstream battle. He does not even have a place to sleep.
Written and directed by Ethan and Joel Coen, “Inside Llewyn Davis” has the look, the mood, and the right actors but it lacks one important element: a reason for us to wish to see the next scene. Though it is not without a sense of humor, the picture is one note in that things are simply allowed to happen to the main character. We watch Llewyn sleepwalk through his rotting career. Since a series of unfortunate turn of events do not have much depth to them, Llewyn’s journey is most depressing.
The film jolts to life when the protagonist performs with nothing but his voice and a guitar. I enjoyed the way Isaac allows Llewyn to be vulnerable when singing and a wall once again when the melody stops. It communicates that the man is not entirely incapable of connecting. Perhaps he is afraid or hurt or simply not ready. In a way, a part of him died after Mike, his musical partner, committed suicide.
The Coen brothers know how to frame the performances. Oftentimes the camera is up close: from the waist up with occasional close-ups during the chorus. They put us in the front row so that we can relish the tiny emotions of the faces and voices. Though the perspective pulls back once in a while to capture the space between the artist and the audiences, our connection to the performances are not allowed to waver. This is best shown when Llewyn sings “The Death of Queen Jane” to Mr. Grossman (F. Murray Abraham), a producer in Chicago.
When the songs stop, so does our involvement. The wait is about three to five scenes until the next one. In some ways, the structure of picture likens that of a mediocre album: the first two songs are great, the next three are passable followed by a good one, and then a few more fillers until a memorable track. There is an imbalance to film that I found almost unbearable. Couple that with a slow pacing, it becomes a challenge not to get frustrated.
Despite the dark brooding in the marrow of “Inside Llewyn Davis,” the lack of substance is astonishing. Halfway through, I asked myself: “Am I enjoying this movie as a whole so far or are the songs keeping this thing afloat?” I leaned toward the latter. Since the centerpiece is the soundtrack with accompanying visuals, perhaps the Coen brothers might have been better off releasing a series of music videos.