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In Reply to: RE: well made why did I not like it much? posted by tunenut on December 30, 2013 at 10:04:14
I don't think the Davis character was meant to be a reprehensible human being. Like many artists trying to live their American dream at that time he was mostly letting fate guide him, and then didn't react well when his inability to make good decisions put him in a situation where he reacted emotionally.To my thinking, this had all the elements of sheer Coen masterpiece--a symbol of hope, the cat--which was lost and found and did and didn't belong to the protagonist at different times. It reminded me of the box Barton Fink carried around with him. An art form that must be cherished but was always manifest in the wrong place at the wrong time or was it the right place at the wrong time? Again, it reminded me of Barton Fink's art form, "of and by and for the common man"...themes the Coen bros explore often. And there were other themes and references to Ulysees and the musical odyssey that harkened to O Brother.
Even on the surface it worked very well in fully capturing the dysfunction and bipolar elements of an artist who at times feels on the cusp of making it big and the next moment feels like the biggest failure in the world.
SPOILER...
He was just doomed to become a sidenote of history right to the end, while Dylan was making his breakthrough performance at the Gaslamp, Davis was getting his ass kicked in the alley out behind the building. All because he had found out the day before that the lady he loved was sleeping with the proprietor. A realization he just didn't know how to deal with, so he lashed out at the wrong person. Story of his life. Not reprehensible, just an anti-hero with a guitar.I need to watch this a few more times myself. It's a deceptively simple movie, but there's a lot under the surface and it's very deftly produced.
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We must be the change we wish to see in the world. -Gandhi
Edits: 01/02/14Follow Ups:
His dad… is that what he wanted to become or, rather, stay? That fueled his passion to succeed and made his perceived failure all the bitterer. F. Murray Abraham, as always, was spectacular in his cameo as the Chicago kingmaker. What a line, "I don't see any money there…."
Lots of quirky, human characters, including Goodman's turn as a bitter, aggressive jazzman: a nice contrast to the sympathetic Llewyn, who loved both animals and humans.
Even Llewyn's sister was note-perfect.
A gem, making me immediately wish to see O Brother again (Barton Fink was a cruel film, as I recall, though after your comments, I'll revisit it, too).
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