I love break. Finally, I can sit and watch film at my leisure. No plans. No obligations. Here I am. With a recent acquisition of a Netflix account, the first film I chose was A Serious Man.
A Serious Man
The Coen Brothers have been a major influence on me in all aspects of film. The way they tell a story and depict it visually has an incredibly unique tone to it. They have in all sense of the theory solidified themselves an auteurs. Brown-nosing aside, we must actually examine this story of A Serious Man.
I really have to praise the Coens for the work over their career. If anything, their latest venture simply adds another credit to the books. Thanks to my class on film aesthetics, the second time through I was able to notice much more than I had originally seen. Aesthetically, the Coens are handful to analyze. Their cinematography is so sound and really completes a whole other language of the film itself. None of this would be possible were it not for the work of Roger Deakins who has worked on every Coen Brothers film since Barton Fink (the only exceptions are Blood Simple, Crimewave, Raising Arizona and Miller’s Crossing and Burn After Reading). Maybe not as illustrious as I originally touted, but still very impressive and a true style that implicit on every film.
In a recent conversation I had with Billy Malloy, I attributed the Coens to being masters of the “Ne0-Noir”. Obviously, my term is a continuation of the already well known narrative structure of Film Noir.
We once again have an everyday man, Larry Gopnik, who is thrust into this reality of a very complex situation involving his wife, brother and children. Everything from the archetypal characters that the Coens have built in their films (the most infamous of them all being The Dude). Most noticeably in A Serious Man is the use of the canted angles in the scenes during ceremonies in the synagogue.
As usual, you cannot miss a beat. Concentration is impeccable. The slight nuances that make up the character development and connection we make to them creates this world that is not only believable but just perfect – in the sense of the film. Within this mystery that Larry Gopnik and the Coens take us through we become wrapped up in a world that is deteriorating in front of us. That of Larry himself. Ever so slightly, Larry’s world is crumbling. And part of what the Coens do best is relate that role to ourselves. Although we may not be Larry Gopnik, we see a sliver of him in each of us. The agony and loss is something we can equate to. He is A Serious Man.
Another great review, and captivating writing. You should seriously consider becoming a film critic! You really have a knack for this. So what happened to Larry? Oh, no, don’t tell me. If it’s sad, I don’t want to watch it.
Thanks Gee. Ideally, I would love to write for film…not just critique it. As for Larry, you really should watch it for yourself. In typical Coen fashion the dark comedy leaves it up for your interpretation.
well summed, sir. Continue to write – you’re a pleasure to read.