12 responses so far.

• 1 Trent // Oct 27, 2009 at 8:32 pm

  I have to applaud your exposition on A Serious Man! Touche, you win! I loved the movie as well, however, I feel like the Coens are beginning to rely too heavily on their own conventions, similar to Wes Anderson. As we all know, there's nothing sustainable to this.
  My reading of A Serious Man equates to essentially, No Country For Old Men told backwards. That is, however, only if you submit to the positive interpretation as I do.

• 2 Jett Loe // Oct 27, 2009 at 8:42 pm

  Am intrigued by your 'No Country For Old Men' backwards thesis. I'd like Gareth to chime in here when he reads this comment – for him I think the end of the pic was the 'backward' end-of-2001…i know he wanted to get into it on the show but, mindful of time as I was I dodged out of it – perhaps something to delve into in more detail on a special 'Coen Brothers' show?

• 3 The Film Talk » Problem of the Day: Has Martin Scorsese Made a Ghost Story? And if so, What am I Going to do About It? // Oct 28, 2009 at 10:44 am

  [...] TFT 97 – A Serious Man / Amelia / On Nostalgia / The Room [...]

• 4 Problem of the Day: Has Martin Scorsese made a Ghost Story? And if so, What am I going to do about it? « god is not elsewhere / some conversation about movies, art, politics and spirituality with gareth higgins // Oct 28, 2009 at 10:48 am

  [...] – must – feature ‘This is It’ (and if you heard our preview at the end of Episode 97 you’ll know just how much we’re looking forward to that particular endeavor, although [...]

• 5 Tweets that mention The Film Talk » TFT 97 – A Serious Man / Amelia / On Nostalgia / The Room -- Topsy.com // Oct 28, 2009 at 4:11 pm

  [...] This post was mentioned on Twitter by Gareth Higgins, Jason Bellamy. Jason Bellamy said: A strong take: RT @thefilmtalk A Serious Man is the Coen Brothers Best Film, a podcast analysis: http://bit.ly/2Lkqgs [...]

• 6 Cole // Oct 30, 2009 at 2:03 am

  Really enjoyed your analysis of A Serious Man. It is a very complex and resonant film, and your guys' comments reflect this. As you mentioned Jett, this is not a phlegmatic film, and for me the emotional centerpiece comes when Richard Kind's character, Arthur, is sitting by an empty pool at the Jolly Roger, lamenting about how God has blessed Gopnik with so much and given him nothing. Suddenly the focus shifts from Gopnik and a “why me?” mentality to the even more profound suffering of Uncle Arthur and the universal hardships that everyone endures. Or perhaps it is a commentary on the “why me?” mindset and the nature of human suffering, or the ancient question of suffering in relation to a supposedly loving Creator. This is the shift in perspective I experienced as a viewer, and whether or not it was the filmmakers' focus, I found it to be a very powerful turning point. This is then of course subjugated by a melodramatic and typically deceptive dream sequence, which I think is part of the Coens genius in maintaining some ambiguity instead of sentimentality. Thanks again for your insight guys!

• 7 Jett Loe // Oct 30, 2009 at 7:27 am

  I think you're absolutely right re: the intentional shifting of focus to Arthur to put things in perspective – also notice the absence of water in the pool contrasted with the Canadian Dream Lake – the Coen's are great filmmakers: am glad they're around making pictures!

• 8 Cole // Oct 30, 2009 at 9:03 am

  Really enjoyed your analysis of A Serious Man. It is a very complex and resonant film, and your guys' comments reflect this. As you mentioned Jett, this is not a phlegmatic film, and for me the emotional centerpiece comes when Richard Kind's character, Arthur, is sitting by an empty pool at the Jolly Roger, lamenting about how God has blessed Gopnik with so much and given him nothing. Suddenly the focus shifts from Gopnik and a “why me?” mentality to the even more profound suffering of Uncle Arthur and the universal hardships that everyone endures. Or perhaps it is a commentary on the “why me?” mindset and the nature of human suffering, or the ancient question of suffering in relation to a supposedly loving Creator. This is the shift in perspective I experienced as a viewer, and whether or not it was the filmmakers' focus, I found it to be a very powerful turning point. This is then of course subjugated by a melodramatic and typically deceptive dream sequence, which I think is part of the Coens genius in maintaining some ambiguity instead of sentimentality. Thanks again for your insight guys!

• 9 Jett Loe // Oct 30, 2009 at 2:27 pm

  I think you're absolutely right re: the intentional shifting of focus to Arthur to put things in perspective – also notice the absence of water in the pool contrasted with the Canadian Dream Lake – the Coen's are great filmmakers: am glad they're around making pictures!

• 10 The Film Talk » A Serious Plan // Nov 9, 2009 at 1:01 am

  [...] I sat together through a couple of hours of pure cinematic expression, as the Coen Brothers’ ‘A Serious Man’ unfolded before us.  Larry Gopnik, the protagonist of this film, one of the most exciting and [...]

• 11 The Film Talk » It’s Tuesday, So It Must Be The TFT DVD/Blu-Ray and Miscellaneous Other Digital Media Report: Rising Sun, Un Chien Andalou, A Serious Man, Peter and Vandy, and As it is in Heaven // Feb 9, 2010 at 6:15 pm

  [...] that expresses some of the best and worst of what religion can mean in about three minutes. We talked about it on the show, and it’s available on DVD and Blu-Ray today.  It’s really something [...]

• 12 DVDs Out This Week « god is not elsewhere / some conversation about movies, art, politics and spirituality with gareth higgins // Feb 9, 2010 at 6:17 pm

  [...] that expresses some of the best and worst of what religion can mean in about three minutes. We talked about it on the show, and it’s available on DVD and Blu-Ray today.  It’s really something [...]

Leave a Comment