With three successful features under their belt, Joel and Ethan Coen were clearly the most unpredictable and eccentric group of filmmakers to emerge into Hollywood with an independent film spirit that few could ever capture. With recent success like 1987's quirky Raising Arizona and the 1990 gangster-noir film Miller's Crossing, the Coen Brothers were indeed one of the most interesting duo in films by the early 1990s. Their next project was inspired by a bout of writer's block for the duo, as it would channel one of their greatest projects to date.

The story is about a successful Broadway writer who goes to Hollywood in pre-World War II 1940s and struggles to write a movie about pro wrestling for a B-movie studio. He encounters all sorts of oddities including a hotel filled with mosquitoes, a big loudmouth, and all sorts of quirks in the Coen Brothers 1991 masterpiece Barton Fink.

Written by the duo with Ethan producing and Joel directing, the film definitely has all the quirks and drama of the Coen Brothers. This time, the duo stretch their writing techniques for what some seem is the most realistic of all the Coen Brothers films since the film is about a screenwriter dealing with all of these troubles and insecurities. Playing the title role of Barton Fink is a regular of the Coen Brothers, John Turturro (in his second Coen Brothers film after Miller's Crossing).

Here, the Coen Brothers give the title character the kind of complexities that hadn't been seen since Raising Arizona but only heightened to be more human. With a cast that includes then current and future regulars like John Goodman, Steve Buscemi, Jon Polito, and Tony Shalhoub along with Judy Davis, John Mahoney, and Michael Lerner. Barton Fink is one of the most outstanding films from not just one of the quirkiest duos in cinema but one of the best films of the decade.

The film begins as a New York City playwright in early 1941 named Barton Fink who is overseeing his play as it plays for a Broadway audience. His play isn't just a hit with the crowd but with critics as well as Barton is getting all sorts of meandering praises. He doesn't want to take the critical praise seriously as people keep telling him his work is marvelous. He meets up with friend Garland Stanford (David Warrilow) at a bar in a restaurant, as Fink is overwhelmed with this newfound success. Stanford felt it was time for Fink to cash in by going to Hollywood for a $1000 for a week to write a screenplay for the B-movie studio Capitol Pictures. Fink doesn't want to since he felt he'd be betraying his roots and dedication to the common man. He wants to make a theater for all of his plays for and about the common man but after much talk from Stanford, Fink goes to Los Angeles.

Fink arrives to Los Angeles where he checks into a strange hotel run by a resourceful but annoying clerk named Chet (Steve Buscemi). Chet keeps telling him his name as Fink signs in and looks into his hotel room that is gathered with dust, wallpapers that are peeling off, and a mosquito. The next day, he goes to Capitol Pictures where he meets with studio honcho Jack Lipnick (Michael Lerner) and his assistant Lou Breeze (Jon Polito). Lipnick tells Fink that the writer is king at Capitol Pictures and what they want him to do is make a movie directed by Wallace Beery about pro wrestling.

Only problem is Fink hasn't seen a wrestling picture and Lipnick and Breeze gives him ideas on what should be expected in a wrestling picture. Lipnick tells Fink that he should one day go see the film's producer Ben Geisler (Tony Shalhoub whose name was misspelled in the opening credits). Fink tries to write a script immediately but finds himself with writer's block. Making matters worse was the screams of a neighbor in his hotel. He calls the hotel to make a complaint but the person making that noise comes into his door.

The person turns out to be a big man named Charlie Meadows (John Goodman) as Fink apologized after seeing him but Meadows insists, it's ok. The two talk as Meadows is a traveling salesman who often lives at the hotel as Fink says he's the kind of guy he likes to write about, the common man. The two have a nice conversation as Fink still has trouble trying to get started and not helping matters is the fast-talking Geisler. Geisler tells him it's not so hard to write a wrestling picture. Make the wrestler say some lame lines, win a match for someone and that's it.

After a lunch with Geisler, Fink goes to the bathroom where he hears a man vomiting in a toilet that turns out to be famed novelist W.P. Mayhew (John Mahoney). Fink is in shock to meet Mayhew as he asks for help for a meeting later in the day. Fink gets an appointment but when he arrives, he hears the drunken yells of Mayhew as he is in the care of his personal secretary and lover Audrey Taylor (Judy Davis).

To fix the peeling wallpaper, Fink gets pins from Chet as he tries to write again but his writer's block is worsened. Charlie tries to help matters by showing him a few wrestling basics as Fink later gets a new meeting with Mayhew. Fink later realizes that Mayhew is nothing more than a pathetic drunk who really has no conception on what a writer really is. Mayhew goes into a drunken stupor as he hits Audrey as Fink consoles her as he wondered what happens to this great writer that he loves.

He tries to get back to his work and even watch takes of wrestling films but couldn't get an idea to save him. Fink later has more meetings with Geisler and Lipnick where Fink accidentally says something to Lipnick making Breeze angry. Instead, Lipnick makes Breeze go down on his knees in order to show some respect for Fink.

Fink's troubles seems to have no solution as Audrey visits him to talk about Mayhew as they console each other for their own problems. Later that night, Fink finds something mysterious that shocks him as he calls Charlie for help and problems galore has emerged. Charlie fixes the problem as Fink finally gets an idea to write the screenplay. Charlie however, has to leave for New York City for business as Fink doesn't want him to leave but does give him the address for a chance to stay at his folks's home.

When Fink is finally on his way to finishing his script, he encounters two detectives named Mastrionotti (Richard Portnow) and Deutsch (Christopher Murney) investigating a murder suspected to be done by a madman named Mundt. Fink is then involved in a very climatic moment as he learns the hard way about success and the film industry.

What makes Barton Fink so appealing among other films by the Coen Brothers is the fact that the film has something that a wide audience can appeal to, notably those in the film industry. The winner of the 1991 Golden Palm award in the Cannes Film Festival along with Best Director for Joel Coen and Best Actor for John Turturro, Barton Fink is definitely an enriching film with inspiring dialogue, climatic film scenes, and moments of comedy and drama all placed into one amazing, sprawling masterpiece.

The Coen Brothers' script and Joel's direction (though Ethan does a bit while Joel does a bit of producing) is very realistic and entertaining with scenes of heartfelt moments, comedy tidbits, and satire as the characters bring references to World War II, literary author William Faulkner (for John Mahoney's Mayhew character), studio honchos, and a long-rumored reference about the hotel that Fink is staying that is rumored to be Hell. The film's screenplay is filled with majestic moments and memorable lines about how a writer writes from his gut and in a very inspirational scene where Turturro yells, "I'm a writer, you monsters! I create! I create for a living! I'm a creator! I am a creator! This is my uniform (pointing his brain)".

Then there's the film's enriching look of 1940s California in pre-World War II. From the vast production designs of the hotel and room by production designer Dennis Gassner along with the art direction of Robert C. Goldstein and Leslie McDonald, and costume designs of 1940s clothes and suits by Richard Hornung. Putting all together in his first Coen Brothers film work, as cinematographer is Roger Deakins (who replaces Barry Sonnenfeld, who left to direct The Addams Family and since then, became a successful blockbuster filmmaker and does a cameo as the man paging Fink in the early restaurant scene). Deakins' vast visuals give life to the 1940s from its sunny look of California as he would become a worthy replacement for the fast-paced camera work of Sonnenfeld.

Helping getting the film together in its leisurely pacing are the Coen Bros. in their Roderick Jaynes alias in the editing front. The editing of the film is masterfully presented in a way that the film should feel like. Another amazing aspect of the film comes from longtime contributor Carter Burwell who brings in a sprawling, melancholic film score that intensifies in the film's more chaotic scenes while playing softly in the more dramatic moments.

Then there's the film rich cast that just doesn't get any better. While Steve Buscemi's role as Chet is small, it is memorable for its annoyance for saying his name a lot but the film has some strange, significant moment where it was rumored that the name is used under a different meaning. Buscemi delivers an ambiguous role without giving away too much. Jon Polito's role is also small but well used as Lipnick's smarmy assistant as he delivers some great lines, especially in the scene where Lipnick bullies him.

The detective roles of Christopher Murney and Richard Portnow are hilarious with its one-liners and satirical tone of 1940s detectives that is played up to the hilt. David Warrilow's performance as Garland Stanford is small but utilized perfectly as the man who tries to make Fink sell out and he's the classic character of selling out.

The always-gifted Tony Shalhoub is hilarious as the fast-talking Ben Geisler with his fast-paced lines and insults that just keeps on getting funnier. Shalhoub definitely plays the role of the 1940s producers to a straight parody, as he would be used to a greater extent as Freddy Reidenschneider in the Coen Brothers' 2001 film The Man Who Wasn't There. John Mahoney is amazing as the Faulkner-inspired drunk of Mayhew with his bad singing and mindless wisdom of how writing brings you peace when really, it doesn't depending on what you're writing.

Michael Lerner is also hilarious as the honcho Lipnick with his brash performance and is a complete parody of these old 1940s studio honchos and he gets even funnier when he puts on a colonel uniform as he prepares for World War II. While British actress Judy Davis' role as Audrey Taylor was small, she definitely stands out as the woman who sympathizes with writers as she herself reveals a secret about Mayhew. Davis brought a sensitive, enigmatic presence to her role in the great tradition of Coen Brothers leading ladies like Holly Hunter (Raising Arizona& O' Brother Where Art Thou?), Marcia Gay Harden (Miller's Crossing), Julianne Moore (The Big Lebowski), and Frances McDormand (Blood Simple, Fargo, and The Man Who Wasn't There).

Then there are the film's two best performances from John Turturro and John Goodman who both have great chemistry in the classic buddy comedy team with Turturro as the straight man and Goodman as the funny man. Goodman is hilarious as Charlie Meadows with his brash one-liners, idiotic references, and of course, the scream. If you're going to have John Goodman in a Coen Brothers film, you know he'll be screaming and he does in a very climatic, hilarious scene. Then there's John Turturro who delivers one of his greatest performances of his career. His portrayal as the serious, insecure Jewish title character is filled with complex emotions as he plays the role with intense paranoia, sympathy, and hilarity, as he becomes the unlikely hero in the film. Turturro delivers a performance that is one of the greatest roles of the 1990s.

Overall, Barton Fink is one of the Coen Brothers' greatest achievements to date. While it doesn't have the lowbrow stupor of The Big Lebowski or Raising Arizona or the drama of Miller's Crossing, Fargo, and The Man Who Wasn't There. Instead, the film channels both of those elements into a minimalist format that is presented more in its emotional context and realism. Really, the film has something for everyone including the diehard Coen Brothers fans. With an amazing cast led by John Turturro and John Goodman, it's a film that delivers amazing lines and climatic scenes. For anyone who is in the industry or is an aspiring writer will find Barton Finkto be really inspiring while more casual film fans will enjoy the film's look and performances. In the end, Barton Fink is a crowning masterpiece from Joel & Ethan Coen.

Related Reviews:

CQ (2001):

http://www.epinions.com/content_130100989572

Adaptation (2002):

http://www.epinions.com/content_103371673220

Coen Brothers Reviews:

Blood Simple (1985):

http://www.epinions.com/content_161759858308

Raising Arizona (1987):

http://www.epinions.com/content_117386415748

Miller's Crossing (1990):

http://www.epinions.com/content_407852977796

The Hudsucker Proxy (1994):

(Coming Soon)

Fargo (1996):

http://www.epinions.com/content_196555935364

The Big Lebowski (1998):

http://www.epinions.com/content_240382480004

O Brother Where Art Thou? (2000):

http://www.epinions.com/content_444722286212

The Man Who Wasn't There (2001):

http://www.epinions.com/content_112639446660

Intolerable Cruelty (2003):

(Coming Soon)

The Ladykillers (2004):

(Coming in Soon)

No Country for Old Men (2007):

http://www.epinions.com/content_408322412164

Burn After Reading (2008):

http://www.epinions.com/content_444757479044



Recommended:
Yes

Viewing Format: DVD
Video Occasion: Good for Groups
Suitability For Children: Not suitable for Children of any age