Classic Movie Review: Barton Fink

To other Coen Brothers enthusiasts, such as myself, Barton Fink has a firm place as a fan favourite, however most cinema-goers have likely never even heard of it. Despite being set in the 1940s, Barton Fink has a timeless beauty to it, and remains firmly at the top of my list of favourite pieces of cinema, of all time. In the simple story of a New York Broadway writer, moving to Hollywood to write for the pictures, Joel and Ethan Coen manage to perfectly marry larger-than-life characters, who often feel more like caricatures than real people, with a dirty, detailed environment, creating a constant sense of disgust throughout.

From the moment the titular Barton Fink, played by John Turturro (O Brother Where Art Thou?, Fading Gigolo), enters the Hotel Earle, we become aware of this sense of disgust. The lighting and detail in the hotel lobby are a grotty teaser for what we can expect of Barton's new lodgings. The receptionist, Chet, played by the brilliant Steve Buscemi (Trees Lounge, Reservoir Dogs), is the first of the quirky characters we meet, easing us into the more eccentric characters later on in the film, such as Michael Lerner's Oscar Nominated performance as Capital Pictures boss, Jack Lipnik. John Goodman (Monsters Inc., The Big Lebowski) spends most of the film as our return to normality, representing "the common man" and serving as a relaxing break from the pretentious world of Hollywood, as Barton's neighbour, insurance salesman Charlie Meadows. His performance is sublime from start to finish; beautifully subtle...for most of the film at least (you'll know what I mean if you watch it).

Although often difficult to explain why, there's an undeniable charm to Barton Fink. To some it may be the clever cinematography, such as the close-up shot of the plughole in Barton's bathroom sink that goes further than expected, entering into the pipes, or the many long hallway shots. To others, it may be the fabulous script; punchy, eerie and utterly flawless throughout, in both writing and performance, seen particularly in the few scenes with Tony Shalhoub's Ben Geisler or Detectives Deutsch and Mastrionotti, portrayed by Christopher Murney and Richard Portnow, which add a lot of pace to a film which, otherwise, take a lot of time over its scenes, often lingering on a shot just long enough to make the viewer feel very slightly on edge. For me, however, the charm in this film comes from the unpleasant attention to detail with which the Coens paid to every frame, particularly in Barton's dank, grimy apartment; the peeling wallpaper, the dirt, dust and grime on the curtains and the furniture all creating this grim view of the usually glamorous Hollywood.

All in all, these elements all fit together to create a piece of art that is truly gorgeous, utterly horrifying and thoroughly entertaining all at once and has clearly had such an influence on everything the Coen Brothers have made since. Whether you're new to the Coen Brothers, an avid fan or, like me, have seen this film too many times to count, it's always worth a watch.