Inside Llewyn Davis

Saw the prescreening at the Michigan Theater in Ann Arbor, MI with average expectations, this is my reaction:

This film is an experience, but not for any sort of superficial special effects, action or CGI. It's an experience in which you will feel fear, joy, hate, hope, sorrow and contempt all within an hour and 45 minutes that feels more like 15 minutes. We are sidelined, watching a short snippet of Llewyn's seemingly dismal life, drudge on by, yet we are drawn. We connect with Lleywn's anger and struggles, as if we too are burdened by his failures and challenges. But amongst the bad, there are moments of cheer, and laughter and peace reminding us that good still exists. What dominates is power, balanced by music, money and pride, yet this movie is better served as a reminder that life is an experience, and individualistic. We are reminded that more often than not, things do not fall into place and luck is rarely on our side. But no matter how many times people fail you, one should never fail, before one's self. This movie is an experience, it indirectly breaths life into each of our souls, and should appeal to anyone in touch with the most crucial human emotions: compassion and empathy. Hold on tight, because it is one experience that will remain with you long after the credits are through. Perfectly casted, perfectly scripted, perfectly filmed; perfectly entertaining.

Much like most other movies by the Coen's, this seemed very different to everything else they have done. Before seeing it, I expected it to be a sincere attempt at portraying a Dylan-like figure, with a heavy focus on the music itself, and also with a whole lot of nostalgia. This is kind of true, but these are not the aspects of the film that'll stay with you (even though the music was really good!).

There's not really much of a plot in this movie, but it's so well crafted that you hardly notice. Llewyn has a goal, but it's obvious from the start that this movie is not about reaching that goal, but rather about his every day struggle, and the life as a folk musician in an almost mythical period of music history. Llewyin is an interesting character, flawed but easy to like. His struggle feels real, and plays into an overarching theme of how your fate can be out of your hands, but also how perseverance can lead to something good.

The movie is similar to road movies in that it features a lot of different characters that Llewyn meets and interacts with. Some of these are very much Coen-esque, and I'm always amazed by how Coen manages to establish such layered side characters, despite them only appearing on screen briefly. Bot casting and writing must be stellar to be able to do this, and they seem to do it all the time.

It ends in a way that makes the movie more than just a mood piece, and opens up for some interesting discussions. Once again, they've managed to make a brilliant film.

This Coen brothers take on the legendary US folk scene in the early 60s, through a down on his luck protagonist, gives nice touch of Greenwich village atmosphere and struggles of an aspiring musician. The musician, based on some of the later famous folk personalities whose music was used, is talented, not mediocre or anything like that, though he has had a tough moment in his life, losing his singing partner to suicide, due to cruelties that he is also exposed to. He struggles without money, and amused Coens take a dark look at the heroic battles of an aspiring artist, who finds little understanding and all the condemnation in his surroundings. Judging by the many condemning comments on this site, subtleties have been lost on the masses. It is a cruel society that equates success with moral virtue, and considers poverty as a moral sin. The artist due to his integrity refuses some chances for commercial success, but even that is construed as his failing by some of the comments, and therefore much of vulhgar mob. Thus, the joke is again turned on the shallow members of the public, who celebrate reality stars while condemn a clearly virtuous, but struggling actor, just because he lacks success. In the end, we get a glimpse of Bob Dylan, who had a powerful gift that was ultimately not possible to deny, but only after he was discovered by some wise people, and who famously snubbed the booing mob and the shallow journalists and could afford to follow his own path. Instead of celebrating the success, Coens shed light on the struggle, and provide an opportunity for the unsophisticated non-creative consumer mob to demonstrate their monstrosities and in some case appallingly complete lack of empathy and absolute inability to distinguish poverty from lack of virtue, bad luck from lack of talent, terrible circumstances from moral deficits. The conclusion is again, that people who do get, through the sheer combination of power of their talent, personality and good luck, to the top, have every reason to shun the shallow hating mob that would, no doubt, shred them to pieces with gusto if they had fallen to bad luck.

This is the first time I've felt compelled to write a review for on IMDb. There are only a few movies in history that have impacted me as much.

The first time I saw Inside Llewyn Davis, it left me feeling empty and confused. While I appreciated the music, the acting, and the cinematography, I couldn't understand why anyone would love this movie (and I am a huge Coen fan). After all, it's just scene after scene of a jerk getting beaten up by life with no real plot progression and no real reason to care about any of the characters.

I then came across the movie again on TV and decided to give it another chance.

After this second viewing, the movie's themes connected with me in a big way. After my third and fourth viewing, it shook me to my core.

This movie is almost too realistic. It follows none of the conventional "rules" and there is no winner or hero. There's no real drama. There's no "silver lining". There's only struggle. And then acceptance.

For every one Bob Dylan there are myriad Llewyn Davis'. Really talented musicians and artists that work really hard and simply don't catch the lucky break. People go under the radar, under-appreciated and overlooked. People that never make it big and therefore question whether they should be doing it at all.

This is a film for the everyday folk; a beautiful empathetic look at art, music, and everyday struggle.

"If it was never new, and it never gets old, then it's a folk song."

The Coen brothers have worked together over the past couple of decades delivering some inspiring work. Their films are extremely varied (ranging from dark comedies to westerns or thrillers) and that is why people rank their films so differently according to their own genre preferences. What these films tend to have in common is that they focus on an unfortunate main character (the Coen brothers don't seem to be too interested in successful characters) and they also include a lot of quirky characters. The Coens are also great at writing interesting characters that despite being unpleasant at times still capture our attention, and they also include a lot of dark and sharp humor. Inside Llewyn Davis is one of those films where we are forced to follow an unpleasant guy in the course of a week and somehow hope he recovers and achieves his goal. This is a film that you probably enjoy more when you think about it once it's over or on a rewatch because it's philosophical and sad, but rewarding none the less if you stick through it. It is also open to many readings and interpretations. You can think of this as being an honest film about someone who doesn't achieve his dreams. We've been saturated with so many films that focus on following our dreams and never giving up on them, but it is rare to see a film focusing on someone who doesn't achieve them. Like Llewyn, we sometimes throw away other possibilities for success because we are too blinded on pursuing our own thing. That is exactly what happens here (and in this way it differs from A Serious Man where the main character suffers misfortune from things that he can't control). Llewyn could've listened and taken good advice, but he's so narcissistic and blinded by his own ambition that he misses several good opportunities. Another way you can read this film, and this is the one that worked best for me, is that Llewyn is learning to cope with the loss of his partner. He was a better singer when he wasn't on his own and now that he has lost his partner he doesn't seem to know what to do next. He is a tortured artist struggling to cope with grief. It's as if the Coens were admitting that they wouldn't know how to make films without each other. They inspire one another and that is where their success relies. Perhaps if something would happen to one of them they would feel like Llewyn, lost and unable to move on. This is just brilliant filmmaking and the Coens prove once again that they are on top of their game.

The film takes place in the course of one week as we follow a struggling folk singer named Llewyn Davis (Oscar Isaacs) across Greenwich Village in the winter of 1961. He has recently released a solo album that isn't selling. With no money and no apartment, Llewyn spends his days jumping from couch to couch at friends houses while performing small gigs at local Cafes. One of the places he crashes in is at fellow musicians, Jim (Justin Timberlake) and Jean's (Carey Mulligan) apartment. Llewyn isn't really a guy anyone wants to be around much, but he continues to pursue his dream of becoming a solo artist. In a way he's his own worst enemy as many of the obstacles he faces are his own doing.

I'm not a fan of depressing films, but somehow the Coens captured my attention through their smart script and beautifully constructed film. The gray cinematography is gorgeous and really sets the melancholic tone of the film. Somehow despite not liking Llewyn, Isaacs manages to portray his character so well that we do root for him and want him to succeed. It's an impressive film that succeeds thanks to Isaacs heartfelt performance. We also get to meet some of the quirky characters that the Coens always include in their films. John Goodman and Garrett Hedlund were the chosen ones this time around and they both added the dark humor in this otherwise sad and melancholic film. The soundtrack is also a lot of fun to listen too and Isaacs has a great voice.