#BARTON FINK TYPEWRITER MOVIE#
Seeking any form of assistance with his struggle to get the typewriter tapping, he visits movie producer, Ben Geisler (Tony Shalhoub). That’s one of a handful of eccentric characters the Coen Brothers bring into Fink’s world. A somewhat tamer beast than meets the eye, claiming to be a salesman, and befriending the playwright. Soon enough, when Fink is perturbed by the noise from the room next door, he comes face-to-face with Charlie Meadows (John Goodman). He moves to Los Angeles, shacking himself up in the run-down hotel.
More specifically, Capitol Pictures want Fink to write a wrestling picture.
His current success, which is where the movie opens, sees Fink invited all the way across America to write film scripts for Hollywood. Fink wants more, a kind of recognition of the battling mind that the writer has to contend with relentlessly. The creative, troubled New York City artist, is simply not satisfied with the applause or the critical acclaim in the press. An unprecedented triple win, which prompted the festival to limit two competition prizes per movie thereafter.īarton Fink (John Turturro) is the Broadway playwright of the title. At Cannes, the film took the Palme d’Or, Best Director for Joel, and Best Actor for John Turturro. Lerner also landed a Best Supporting Actor nod (not John Goodman). But two were for Best Art Direction (Dennis Gassner, Nancy Haigh) and Best Costume Design (Richard Hornung). “Original, dark, poignant, and sharp as a knife in all areas.”Īt the Academy Awards, Barton Fink only nabbed three nominations.
#BARTON FINK TYPEWRITER WINDOWS#
These pristine, or drab, environments offer windows into the mental arena of the characters. The brash, bellowing Jack Lipnick (Michael Lerner), a wide man in cream suit and silver hair, almost matches the decor. Those large windows to the blue sky, and lavish stone statues. In contrast to the bright, spacious world of the bigwigs movie producers in Hollywood. Other various quirks occupy the hotel, that the clerk appears from a door in the reception floor, and the endless trail of tatty shoes left outside of the room doors. From the old, peeling wallpaper, to the pin-up framed on the wall, and, of course, Barton’s typewriter. Hotel Earle is nothing special as hospitality goes, but as a part of cinematic architecture, its very engaging. You’re transported into the early 1940s before you even realize it yourself.Īnd that very set decoration, a marvel throughout, is alive as part of the very story the Coens want to tell. And in the case of 1991’s Barton Fink, some extraordinarily engulfing production design. Original, dark, poignant, and sharp as a knife in all areas – the writing of comedy, the unforeseen narrative jolts, the immaculate framing and camera movement. Joel and Ethan were still fresh-faced in the eyes of those soaking up their seemingly genius, refreshing outlay of celluloid. This was the days before Fargo, before The Big Lebowski, before No Country For Old Men. Prix d’interprétation masculine – John TurturroĬarter Burwell’s pondering, curious piano tinkles that open the great Coen Brothers movie, Barton Fink, is typical of the sibling filmmakers. We excitedly countdown to the 72nd Festival de Cannes with a different prize winning film each day.
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