Father Son Holy Gore

Barton Fink. 1991. Directed by Joel Coen. Screenplay by Joel & Ethan Coen.
Starring John Turturro, John Goodman, Judy Davis, Michael Lerner, John Mahoney, Jon Polito, Tony Shalhoub, Steve Buscemi, Richard Portnow, & Christopher Murney. 20th Century Fox/Circle Films/Working Title Films.
Rated R. 116 minutes.
Comedy/Drama

★★★★★The Coen Brothers are impressive for many reasons. Particularly for the fact they make these elaborate pictures, one might even call them extravagant, yet still they retain their uniquely creative independent spirit. Even in their more recent films in the past decade from No Country for Old Men to their latest Hail, Caesar! they somehow manage to keep their weird little hearts alive, no matter what the material. Then there’s the fact they’re usually tackling stories many others wouldn’t go near. Not for any controversy, nothing like that. Rather the Coens have a certain way of looking at the world, and so it’s only natural this bleeds into their work. I mean, who else would’ve done stories like The Big Lebowski or Fargo before these guys came along? Or told the stories of of movies such as Blood Simple., Raising Arizona, Miller’s Crossing?
That’s right. Nobody else.
So here we are at Barton Fink. An immediate aspect I love about this movie is the fact these writers (and good directors as this pair are they are most amazing in their abilities as writers) wrote a story about a writer. I’m always a sucker for literature or film about the art of writing, about the people that write the stories, so on. Ultimately, this movie concerns the life of a writer, and through a journey of magnificent hyperbole the eponymous Mr. Fink (John Turturro) we experience his combative writer’s block from one scene to the next, as Hollywood nearly eats him alive. Doesn’t hurt there are plenty of references to real life figures that serve as inspiration for Fink and others, including famous Southerner William Faulkner (my favourite author) and playwright Clifford Odets. Sure, this movie didn’t do well at the box office, but when has that ever mattered? Money isn’t quality. And perhaps part of that speaks to certain elements within the film itself. Nevertheless, this is an underrated film in general, as well as in the Coen Brothers’ overall filmography.

Reality v. Fiction is a prominent part of the entire film. Mainly, the Coens place us in the headspace of Barton, in the realm of “the life of the mind” as Charlie (John Goodman) calls it. His major personal crisis has to do with that perceived need, or at least his want, to be in the realm of the common man. However, what Barton doesn’t face is the fact that, no matter how real your fiction gets it is always fiction. No matter how close to the common you get, soon as words hit the page and they’re only a representation of life then you’re always creating something, fictionalizing, you’re moving away from the truth. Just as Plato saw art as an imitation already twice removed, Barton will never be able to just get into that perspective of the common man. He is not a common man, definitely not after accepting a job in Hollywood writing motion pictures; it’s almost ironic then how he’s living in a shitty hotel, slumming it and trying to find that perspective when just working for a studio has already ensured he’s no longer common. Moving from Broadway to Hollywood is essentially going bigger, rather than smaller. So part of Barton’s entire journey is almost futile, or existentially frustrating, as it’s doomed from the start.
There are a few really great moments where satire is all but bursting right through the screen. One of my favourite scenes comes when Barton goes to see Jack Lipnick (Michael Lerner) at his sprawling mansion – Lou Breeze (Jon Polito) tries to pressure Barton into giving Mr. Lipnick information, lest he find himself out of work. Breeze tells Fink: “Right now the contents of your head are the property of Capitol Pictures.” That’s such a perfect line in regards to how writers are treated, like a mill pumping out tangible product into the boss’ hands. Afterwards, this prompts Lipnick to send Breeze packing, then he gets down on his knees and literally kisses Barton’s foot, as a gesture of gratitude and an apology. It’s hilarious, and also poignant. This one scene alone displays the fake reverence and at once the very real disrespect many writers encounter while trying to practise their craft. There are many great scenes in a similar vein, this is just my favourite one and probably the most on-the-nose.

Along the way, reality and fiction clash. All of a sudden, there’s a surreal quality to the film and Fink himself feels plunged inside a dream. There are echoes of themes to do with fascism and World War II, becoming even more clear later when we meet two detectives (they respectively have Italian and German surnames) and Charlie says a strange line directly related to WWII. So the surreal elements almost challenge you to look at the film either as a story about a writer and writing on the surface, or as a story with symbolism and thematic material lurking around every corner. Personally, I don’t feel the Coens intended this as a totally symbolic, metaphorical piece of cinema. Most of all, the themes tackled here have much to do with the distinctions between writers in the realm of Broadway and literary fiction and those that write for the movies. And not in any way are they trying to be negative, as the Coens themselves are indeed screenwriters. What they do successfully is examine the often fine line we as society demarcate between high and low culture. So, if we want to apply the concepts of literature to Barton Fink, I would suggest this as a post-modern story. Many aspects which define post-modern literature are the inclusion of both high and low culture, the looming spectre of WWII and more specifically the Holocaust, a shifting perspective or concept of identity, and more. All of which you’ll find throughout this amazing, dark comedic drama.
If you want, you could look at the entire film as symbolic. Or at least the latter half. Are Charlie and Barton the same person? In his quest to find the common man, did Barton create an entirely other self, one whom he could live through vicariously in order to create a story worthy of 1940s Hollywood? Who knows. Is Barton literally chained to a bed in a burning motel? Is he figuratively chained, stuck inside the burning house of his dilemma as a writer waiting to either escape or perish? “Sometimes it gets so hot I wanna crawl right out of my skin,” Charlie tells Barton. Much of this imagery, and Barton’s relationship with Charlie, has to do with the shifting identity Fink fights against. He is not sure who he is any more – a Broadway playwright or a big time Hollywood film writer. His personality has fractured, we see this early on even before the fire, as the wallpaper’s already begun to peel and curl up. These elements only intensify towards the end.
When Charlie bends the bars of the bed to free barton, this is the best indication of their being two parts of one personality. One side of Barton’s mind has freed the other, allowing it to continue on as it instead walks off into the fire. Better yet, more evidence to suggest Charlie isn’t altogether real is the box: before walking away he tells Barton he lied, the box does not belong to him. Therefore, the box has no rightful owner, at least not of which we’re aware. We can only assume the box is representative of an unknown possibility, almost like Schrödinger’s cat, very literally, but for the audience: there is either confirmation of Charlie’s character as real in that a head is in the box (highly unlikely to me as it would probably stink terribly with Barton lugging it around in that L.A. heat), or there is nothing significant in it and the box is a red herring, a confirmation that ultimately Charlie is a figment of ours and Barton’s imagination.

Charlie: “I will show you the life of the mind”

John Turturro is one of the most slept on actors in the history of cinema. I’ll always stand by that fact. He is a man of many faces, often remembered for his funnier roles. And while Barton Fink is a comedic character in his own right, the meat of this role has to do with Turturro’s ability to portray a man whose life is falling apart. The meaning of his life – writing – is suddenly pulled into question, so every last element of what he sees as reality starts to sort of come loose. The very fabric of his being separates and gradually we fall down the rabbit hole right next to him. It isn’t easy for an actor to make psychological breakdowns feel and look entertaining. Turturro digs deep and brings his experiences as an actor to the part, as all artists know what it’s like to feel disconnected, worn out, blocked up. In the end, Barton is a complex character and we’ve never completely able to know if he’s a man with his head permanently in the clouds. Perhaps as he sits on the beach, admiring a woman uncannily similar to the picture hanging in his hotel room with his feet in the sand, Barton has come to realize – at the very least – that it’s all about perspective.
On the opposite side is John Goodman, a wonderful actor, too. He plays Charlie Meadows to perfection, giving him lots of likeable qualities and also making us aware that there’s something quirk about the man; we don’t find out exactly how much so until the end, when you can definitely start substituting crazy for quirky. There’s a danger to the character from minute one, but Goodman helps to keep us guessing. Roger Ebert made  good points about the theme of fascism against the backdrop of WWII and the Nazis, and that Charlie represents how easy it is for the common man to fall into madness, or almost worse into extremism – in this light, Goodman gives Charlie even creepier qualities. There’s no immediate sense of any extremism, though further we move through the plot it becomes clear Charlie is not whom he pretends to be, and this brings to mind the old sheep in wolves clothing adage. No matter how you interpret the film or the character, Goodman does well with Charlie as the sort of parallel extreme to Barton as a much more cautious, quiet type.

This may be my personal favourite film from the Coen Brothers. It’s always hard to choose when filmmakers have such rich, diverse movies amongst their catalogue. Even with their signature and unmistakable style, the Coens always manage to create something new and intriguing each time out of the gate. Barton Fink is an enigma. Just as the film itself defies genre categorization (film noir/comedy/drama/surrealism/et cetera), the story defies one concrete explanation. I didn’t even bother getting into certain portions of the varying themes, as I’ve already run a long review. But there are so many elements at play throughout the film that you can’t definitively point to one thing and say WE FOUND IT. There are many things to enjoy and so many things to mull over, to ponder long after the credits roll and the experience is over. Whether you see this as symbolic film is not the point. The point is it gets you thinking and offers not just one idea, it allows us as an audience plenty of room to flesh out our individual experiences with the film and makes sure Barton Fink doesn’t only captivate you while the movie plays. No matter how you feel about this movie you’re bound to find something worth debating. And above all else, this is one of art’s main objectives.