Barton Fink (1991)
★★★ / ★★★★
Written and directed by the Coen brothers, “Barton Fink” tells the story of a playwright (John Turturro) who was hired to write for the movies in Hollywood after his celebrated success on stage in New York. Everyone assumed he had a natural gift for telling stories about the common man so they thought that his writing would immediately translate from stage to pictures. However, right when Barton arrived in his dingy hotel room, he got a serious case of writer’s block. This film was rich in symbolism and it was fun deciphering each of them. However, unlike some of the Coen brothers’ less enjoyable dark comedies, the symbolism and ironies did not get in the way of the fantastic storytelling. Turturro did such a great job as a writer struggling to find an inspiration. He’s very human because he is full of self-doubt yet it was very easy to root for him to succeed because he doesn’t let fame get into his head. In fact, when annoying neighbors (John Goodman) prevent him from concentrating on his work, he welcomes (at first warily) instead of condescends. I also enjoyed the supporting work of Steve Buscemi, Tony Shalhoub and Judy Davis. Their performances reminded me of the best noir pictures in the 1940’s and 1950’s–sometimes in the extremes but they have certain qualities that are so specifically Coen and therefore modern. The last forty minutes of the film completely caught me off-guard. Just when I thought I was finally going to get a more “typical” movie from the Coen brothers, they pulled the rug from under my feet and gave me twist after twist to the point where I found myself struggling to keep up (in a good way). Putting the pieces of the puzzle together was half the fun in analyzing this project. The other half was more about its play on the subtleties and how those little things eventually add up to trigger something so big that it completely changes the rules of the game altogether. The film may be more comedic on the outside but sometimes the darkness underneath it all seeps out from within. And when it happens, I was nothing short of enthralled. If one is interested in movies that are genre-defying but still makes sense as a whole, then I absolutely recommend watching “Barton Fink.” It requires a little bit of thinking because it takes a lot of risks but it’s more than worthwhile. I hope to discover more treasures (and hopefully love it that much more) the second time I get the chance to see it.
★★★★ / ★★★★
I’ve always wondered about this classic western about three men (Clint Eastwood, Morgan Freeman, Jaimz Woolvett) who decided to hunt down two other men who cut up a woman’s face (Anna Levine) for the price of $1000, but I was always reluctant to see it because the western genre is my least favorite. I’m glad to have finally given it the chance it more than deserved because it absolutely blew me away. Every scene felt like a crucial piece of the puzzle in order to understand why certain things were happening and why certain things must happen. I truly identified with Eastwood as a man who used to be a drunk and a killer because every fiber of his being was fighting his inner demons regarding the people he killed for no good reason. In every frame, I felt the fierce passion in his eyes, the wounded soul in his voice and the subtleties of his body movements; it made me believe that he really was a changed man. But eventually, it was nice to see why he did not want to be that kind of person anymore, not just because he now had a family, saw the error of his ways, and wanted to set a good example, but because that person really was engulfed in such darkness whose sole motivation was to kill. All of the supporting actors were exemplary such as the villanous authority of the town played by Gene Hackman, the leader of the prostitutes played by Frances Fisher, and the kid who was so enthusiastic about killling even though he had myopia (Woolvett). Although this was a western film, I was surprised because it was very anti-violence. Even though there were shooting involved, a requisite in most western pictures, the thesis of having no honor in killing was always at the forefront. I never thought I would ever be interested in watching more western films, but after seeing “Unforgiven,” perhaps I just might. This film will definitely set the standard of my eventual foray into westerns. I can honestly say that this deserved its Best Picture and Best Director win at the Oscars because despite the film looking a bit dated, the emotions are still raw and quite timeless. Complexity within its deceitful simplicity is this film’s forté and it succeeds in every single way. That’s a rarity.
Waking Life (2001)
★★★ / ★★★★
Written and directed by Richard Linklater (“Before Sunrise,” “Before Sunset”), “Waking Life” is an animated film that tackles deep questions about what life is and how it is like to live one’s life. Although it is essentially an animated film, it is very adult in its approach to tell a story of a guy (Wiley Wiggins) who “wakes up” in his dream and into other dreams without knowing whether he’s conscious or awake in “real life.” I admired that this film actively does not confine itself into the kind of Hollywood filmmaking where there is a distinct beginning, middle, and end. Just like the look of the picture, the story flows and moves like water, which enhances the film’s overall craft because the issues that it tackles are very abstract. And it also helped because the main character is in a dream. I particularly liked the scene when Ethan Hawke and Julie Delpy reprise their characters from “Before Sunrise” and had a deeper conversation about what was said in that movie. It really made me think about why, when we dream, time feels endless but in actuality we’ve slept for a very limited amount of time. That constant theme of there having to be something more to life than rules and meaning is explored in such a deep and intellectual way to the point where I found myself struggling to keep up because I wanted to savor the conversations. While I admit that I did not fully understand some of the concepts that they discussed and the names they dropped, it made me want to read up on such topics and people that are unfamiliar. This is a thinking man’s movie and definitely not for people who constantly have to have action scenes thrown at them. The power of this unique-looking film lies in the words and the exaggerated, almost expressionistic, images to highlight the transient meanings of the implications. My only main problem with it is that I felt as though part of the last third somewhat felt apart because it did not fully integrate some of the biggest themes that pervaded the rest of the movie. Still, I’m going to give “Waking Life” a recommendation because it was able to incite various insights on how to communicate and see (or feel?) the world in unfamiliar and not fully explained perspectives.