The article Cannes Film Festival 2013 review: Inside Llewyn Davies starring Carey Mulligan and Justin Timberlake written by Geoffrey Macnab was published in the Independent on May 20, 2013. It reports
about new film - Inside Llewyn Davies - directed by the Coen brothers. This is ostensibly a film about the Greenwich Village folk music scene in the early 1960s. It's necessary to point out that the most impressive detail about the film is the sure-footed way the Coens combine comedy, music and brooding film noir elements.
Speaking of the main characters of Inside Llewyn Davies it's interesting to say that Llewyn Davis (brilliantly played by Oscar Isaac) is an ambitious but hapless folk singer with a very chaotic private life. He has seemingly made fellow folk singer Jean Berkey (an enjoyably spiky Carey Mulligan) pregnant. She is in a relationship with a friend of his (played in solemn fashion by Justin Timberlake) and is furious at the predicament he has put her in.
The author says that the structure of the film seems partially inspired by James Joyce’s Ulysses. The story is set in the dead of winter over only a few days but still has an epic quality. Like Leopold Bloom in Joyce’s novel, Davis ricochets around the city, having misadventures. He loses a friend’s cat. He has nowhere to stay. Needing a gig, he eventually heads off to Chicago on a road trip with a thoroughly obnoxious jazz musician and his Dean Moriarty-like sidekick.
Speaking of the structure and composition of the film it's interesting to point out that there are echoes here of Barton Fink. Like John Turturro’s tormented screenwriter, Davis endures increasingly strange and phantasmagoric experiences as he pursues success. In the early scenes, the tone is comical. The Coens don’t skimp on the satire at the expense of the earnest, hipster folk crowd. At the same time, the music is often glorious. The film is open-ended and deliberately confounds our expectations at every turn. It’s as mercurial as its own lead character, who can seem like a self-pitying, aggressive bore one moment and sing like an angel the next.
The author draws a conclusion that we are never quite sure how talented Davis actually is. The opening of the film shows him singing a beautiful and haunting solo but no sooner has he finished his performance than he is beaten up in the back yard.
As for me, I'd like to say that the Coen brothers are the masters in modern cinematography. My favourite their works are Intolerable Cruelty, Paris, je t’aime (segment «Tuileries»), True Grit and Burn After Reading.
about new film - Inside Llewyn Davies - directed by the Coen brothers. This is ostensibly a film about the Greenwich Village folk music scene in the early 1960s. It's necessary to point out that the most impressive detail about the film is the sure-footed way the Coens combine comedy, music and brooding film noir elements.
Speaking of the main characters of Inside Llewyn Davies it's interesting to say that Llewyn Davis (brilliantly played by Oscar Isaac) is an ambitious but hapless folk singer with a very chaotic private life. He has seemingly made fellow folk singer Jean Berkey (an enjoyably spiky Carey Mulligan) pregnant. She is in a relationship with a friend of his (played in solemn fashion by Justin Timberlake) and is furious at the predicament he has put her in.
The author says that the structure of the film seems partially inspired by James Joyce’s Ulysses. The story is set in the dead of winter over only a few days but still has an epic quality. Like Leopold Bloom in Joyce’s novel, Davis ricochets around the city, having misadventures. He loses a friend’s cat. He has nowhere to stay. Needing a gig, he eventually heads off to Chicago on a road trip with a thoroughly obnoxious jazz musician and his Dean Moriarty-like sidekick.
Speaking of the structure and composition of the film it's interesting to point out that there are echoes here of Barton Fink. Like John Turturro’s tormented screenwriter, Davis endures increasingly strange and phantasmagoric experiences as he pursues success. In the early scenes, the tone is comical. The Coens don’t skimp on the satire at the expense of the earnest, hipster folk crowd. At the same time, the music is often glorious. The film is open-ended and deliberately confounds our expectations at every turn. It’s as mercurial as its own lead character, who can seem like a self-pitying, aggressive bore one moment and sing like an angel the next.
The author draws a conclusion that we are never quite sure how talented Davis actually is. The opening of the film shows him singing a beautiful and haunting solo but no sooner has he finished his performance than he is beaten up in the back yard.
As for me, I'd like to say that the Coen brothers are the masters in modern cinematography. My favourite their works are Intolerable Cruelty, Paris, je t’aime (segment «Tuileries»), True Grit and Burn After Reading.
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My favourite (NO 'their') works are Intolerable Cruelty, Paris, je t’aime (segment «Tuileries»), True Grit and Burn After Reading.