One of the simplest ways to make an art film successful is to have its content deliberately vague. While confusing to the general audience, such films are loved by critics because they leave much room for original and often very creative interpretations. This approach worked very well for Joel and Ethan Coen in their 1991 period drama Barton Fink.
The plot begins in 1941 New York City where playwright Barton Fink (played by John Turturro) had so much success at Broadway with his socially conscious plays that he caught attention of Hollywood studios. Offered a lucrative contract to write for Capitol Pictures, he accepts the offer, travels to Los Angeles and settles into Hotel Earle, a rundown and claustrophobic place. Fink later learns that studio chief Jack Lipnick (played by Michael Lerner) wants him to write low budget wrestling films, much simpler and very different from the plays he had written in New York. Fink soon experiences writing block, but also befriends Charlie Meadows (played by John Goodman), insurance salesman who lives in neighbouring hotel room. In order get research for the script Fink seeks advice of W. P. Mayhew (played by John Mahoney), famous novelist who also became Hollywood scriptwriter. He also meets Mayhew’s secretary and lover Audrey Taylor (played by Judy Davis) to whom he becomes attracted.
To a certain degree and despite being a period piece, Barton Fink is one of the more personal and autobiographical entries in Coen Brothers’ filmography. Like the protagonist, they were struck by writers’ block while working on Miller’s Crossing, and the whole project was in many ways an attempt – thankfully successful – to have their creative juice flowing again. The result of their effort was good film that nevertheless looks incoherent and unfinished despite Joel Coen’s indisputable skills as director. Coens’ script, apparently inspired by both their deep love and criticism of Classic Hollywood, starts as serious drama dealing with differences between noble high culture of Broadway and profit-driven low culture of Hollywood. Barton Fink explores the price idealistic writers have to pay when accept Faustian bargain and sell their creative soul to ruthless and vulgar moguls of American film industry. Protagonist, brilliantly played by John Turturro, is based on the real life figure of famous left-wing playwright Clifford Odets who, after becoming toast of Broadway in 1930s due to socially conscious plays, went to work in Hollywood only to deliver script for unremarkable factory-made and mostly forgettable films. Critical stance towards Hollywood is presented also through character of Mayhew, modelled after real life novelist William Faulkner who was quite critical towards Hollywood and was, like his fictional equivalent, known for hard drinking. This damning portrayal is concluded with flamboyant, eccentric and seemingly friendly Jack Lipnick, well-played by Michael Lerner; the character is composite of real life moguls like Louis B. Meyer and Jack Warner.
Unfortunately, the plot gets muddled in the second half when Coens begin to play with genres, apparently not satisfied with merely spicing drama with their trademark black humour. Barton Fink instead transforms into very dark and potentially disturbing combination of film noir and supernatural horror which owes less to Classic Hollywood and more to the works of Roman Polanski (who, by coincidence, was president of Cannes Film Festival jury which awarded Barton Fink with Palm d’Or and Joel Coen with Best Director Award). Coens play, although not very successfully, with some issues that were relevant to the period, namely fascism and anti-Semitism. But the most annoying thing about Barton Fink is another triumph of style over substance. Film is well-directed and Coens used services of veteran cinematographer Roger Deakins, especially in scenes taking place in Hotel Earle, which give away influence of Kubrick’s Shining. But too many elements are put simply because they look or sound “cool” while without any deep meaning or relevance to the plot. The example is Fink’s obsession with picture of girl at the beach which would be reconstructed as a scene at the very end. Carter Burwell’s music score is also quite disappointing and in some ways takes away the atmosphere of the period.
Barton Fink is nevertheless good film, and cast is large part of the reason why. Turturro’s efforts are well-matched by John Goodman in complex role of a man who is both likeable and menacing and whose true colours remain hidden until the very end. Their roles are well-complemented by Judy Davis, John Mahoney and Jon Polito who plays Lipnick’s subordinate at the studio. However, while some viewers might be entertained with various, often fashionable, interpretations that explain this film as allegory of the issues like slavery or homosexuality, many viewers will be disappointed with its lack of clarity, pretentiousness and ambiguous ending. Coen Brothers toyed with the idea of sequel, but closest they came to it was their 2016 film Hail, Caesar!, set in Capitol Pictures studios a decade after events depicted in this film.
RATING: 6/10 (++)
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