Ein renommierter New Yorker Bühnenautor lässt sich von einem Angebot nach Kalifornien locken, um dort für den Film zu arbeiten, und lernt dabei die infernalischen Abgründe Hollywoods kennen.Ein renommierter New Yorker Bühnenautor lässt sich von einem Angebot nach Kalifornien locken, um dort für den Film zu arbeiten, und lernt dabei die infernalischen Abgründe Hollywoods kennen.Ein renommierter New Yorker Bühnenautor lässt sich von einem Angebot nach Kalifornien locken, um dort für den Film zu arbeiten, und lernt dabei die infernalischen Abgründe Hollywoods kennen.
- Für 3 Oscars nominiert
- 19 Gewinne & 29 Nominierungen insgesamt
Meagen Fay
- Poppy Carnahan
- (as Megan Faye)
Ausgewählte Rezension
You are either going to love or hate this one, and I doubt you'll know which until it's over. Maybe you won't know even then.
In 1941, Barton Fink (John Turturro) is a successful Broadway playwright. Now that he's got some success under his belt, he says he wants to write plays for "the common man". But his agent has a tempting offer. A movie studio wants him to come to LA and write screenplays for 1000 dollars a week. The agent convinces him to go. Barton checks into the Hotel Earle, which has ornate decorations in the common areas, but is a dump from the standpoint of Barton's room. The heat has the wallpaper peeling off the walls. The sole decoration in Barton's room is the picture of a woman sitting on the beach, her arm raised to block the sun. Remember this picture - it's important.
Barton's first assignment is to write a "wrestling picture" starring Wally Beery. But Barton has writer's block for assorted reasons, one of them being that he knows nothing about this subject. So he stares at his typewriter with the dread an insomniac might stare at his bed. But then what seemed to start out being a film about how the studio system can beat the creativity and the confidence out of a successful writer changes course and becomes something that is completely surreal and even nightmarish by the end. I can really say nothing more specific than that without giving things away.
The Coens wrote Barton Fink when they were having writer's block trying to write Miller's Crossing because of the complexity of the plot. So did they manage to pack lots of symbolism into a tight, coherent package, or did they simply let their imagination run wild and undisciplined in an attempt to get back on track on the other film? I have no idea. I just know that I like it and - for me - it's great for repeat viewings.
One more thing - How can it be so hot in LA, and then suddenly WWII has started, which would make it December? Why is it Barton doesn't seem to notice WWII has started without being told and then really has no reaction. He really isn't plugged into "the common man" is he?
In 1941, Barton Fink (John Turturro) is a successful Broadway playwright. Now that he's got some success under his belt, he says he wants to write plays for "the common man". But his agent has a tempting offer. A movie studio wants him to come to LA and write screenplays for 1000 dollars a week. The agent convinces him to go. Barton checks into the Hotel Earle, which has ornate decorations in the common areas, but is a dump from the standpoint of Barton's room. The heat has the wallpaper peeling off the walls. The sole decoration in Barton's room is the picture of a woman sitting on the beach, her arm raised to block the sun. Remember this picture - it's important.
Barton's first assignment is to write a "wrestling picture" starring Wally Beery. But Barton has writer's block for assorted reasons, one of them being that he knows nothing about this subject. So he stares at his typewriter with the dread an insomniac might stare at his bed. But then what seemed to start out being a film about how the studio system can beat the creativity and the confidence out of a successful writer changes course and becomes something that is completely surreal and even nightmarish by the end. I can really say nothing more specific than that without giving things away.
The Coens wrote Barton Fink when they were having writer's block trying to write Miller's Crossing because of the complexity of the plot. So did they manage to pack lots of symbolism into a tight, coherent package, or did they simply let their imagination run wild and undisciplined in an attempt to get back on track on the other film? I have no idea. I just know that I like it and - for me - it's great for repeat viewings.
One more thing - How can it be so hot in LA, and then suddenly WWII has started, which would make it December? Why is it Barton doesn't seem to notice WWII has started without being told and then really has no reaction. He really isn't plugged into "the common man" is he?
Handlung
WUSSTEST DU SCHON:
- WissenswertesThe first film to win all three major awards (Palme D'or, Best Director, and Best Actor) at the Cannes Film Festival. Also, it was unanimously chosen for the Palme D'or.
- PatzerBriefly visible at the top of the screen when Detective Mastrionotti introduces himself to Barton.
- Zitate
Charlie Meadows: Look upon me! I'll show you the life of the mind!
- Crazy CreditsThe 20th Century Fox logo appears over silence; the "fanfare" is not played.
- VerbindungenEdited into The Clock (2010)
- SoundtracksFor Sentimental Reasons
by Edward Heyman, Al Sherman and Abner Silver
Licenced with Permission the Successors of Marlo Music Corporation (ASCAP)
Top-Auswahl
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Details
- Erscheinungsdatum
- Herkunftsländer
- Sprache
- Auch bekannt als
- Бартон Фінк
- Drehorte
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 9.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 6.153.939 $
- Eröffnungswochenende in den USA und in Kanada
- 268.561 $
- 25. Aug. 1991
- Weltweiter Bruttoertrag
- 6.154.106 $
- Laufzeit1 Stunde 56 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1
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