In this week’s action-packed, adrenaline-fueled thrill-ride of an episode Gareth and I review what I think is the Coen Brother’s best film: ‘A Serious Man’; ‘Amelia’ – a pic with the all the excitement of small town cattle auction, the Escapism Film Festival in Durhamand the astonishing ‘The Room’; (special thanks to DJ Mark Barbagallo for his wonderful interpretation of an old classic):
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!
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!
Trent
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.
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?
Get TFT delivered weekly via iTunes
