Simplicity

So, five months after my initial review, I find myself revisiting the Coen Brothers’ “A Serious Man.” The first viewing left me in a state of befuddlement and I spent nearly a month formulating an opinion on the film. Now, after a third viewing of the film, I can say it ranks very high in the quirky brothers’ distinguished filmography. Ultimately, in my opinion, the key to understanding the film comes from the Jewish adage which opens the film:

“Receive with simplicity everything that happens to you.” – Rashi

This wise adage can be applied to the unfortunate incidents within the life of Larry Gopnik, the film’s main character. Larry, a physics professor and devout Jew, finds his life spinning out of control as his wife divorces him, a disgruntled student bribes him for a better grade, and his eccentric brother Arthur moves in with the family. As the film progresses, Larry’s problems only worsen. His redneck neighbor disregards Larry’s property line. Larry’s son, Danny, complains about the fuzzy television, while his daughter, Sarah, is secretly planning to get a nose job.

Dumb-founded by his recent string of bad luck, Larry seeks help from his religion, his lawyers, and colleagues. Each gives him advice, most of it helpful, but Larry still cannot find any answer to his sufferings. The Junior Rabbi tells him to simply enjoy life and appreciate all that God has given us. For example, “just look at the parking lot.” Another Rabbi tells him just to wait it out. All of your problems will soon disappear, “kind of like a bad toothache.” The final, and most well regarded of the rabbis, gives the simplest response: “be a good boy.” Larry heeds their advice, but fails miserably in trying to apply them to his unfortunate circumstances.

While the Coens seem to recognize the wisdom in the rabbis’ advice, they also realize that life is unpredictable and that, while this advice can certainly help one’s life, it ultimately has no bearing on one’s fate. In other words, good works, although admirable and even integral to flourishing of the human person, do little to prevent bad things from happening to you. This theme pops up several times in the Coens’ filmography. In 1996’s “Fargo,” the good will of a chirpy police officer fails to prevent crime from pervading a good-natured Midwestern town. In 2007’s “No Country for Old Men,” the violence of the new world outmatches the skill of an old, moralistic deputy.

As the amoral Anton Chigurh, the crazed serial killer in “No Country,” exclaims with dry certainty, “You can’t stop what’s coming.”

This sentiment is played with throughout “A Serious Man.” As Larry melts down, he searches for answers in religion, tradition, and even physics. But, ultimately, he lives in a world of unpredictability. While he can try to ascribe meaning to all the unpleasant parts of his life, while he can think that he is being punished for some moral wrongs, while he can valiantly try to incorporate a set of principles into his everyday, these actions have absolutely no meaning when confronted with the unpredictability of fate.

Thus, if there is a God, we do not know the method to his madness. Therefore, we must live our lives to the fullest. We must make the most of our circumstances and work to improve the lives of those around us. We must not overcomplicate the nature of our existence. And, perhaps most importantly, we must appreciate what we have been given.

But, at the end of the day, we have no idea if our actions take on any greater meaning. So, ultimately, it doesn’t matter if Larry accepts or denies the bribe from the disgruntled student. While this action is – and should be – important to Larry’s individual moral character, his life does not depend on it.

The tornado of fate can intervene at any moment. It can ruin your life with one swift blow. It shows little concern for you well being. You can’t make a deal with it to ensure your safety. You can't lessen the effect of its deadly blows.

You can’t ignore it. You can’t fight it. You can’t stop what’s coming.

Do you have any thoughts on "A Serious Man?" Race to the comments to leave your interpretation of the film's meaning.

The Top Ten Best Films of 2009 (Pt. 2 of 2)

1. “Where the Wild Things Are”




Moving, melancholic, and emotionally truthful, “Where the Wild Things Are” is the best film of 2009 and an instant classic. Capturing the highs and lows of childhood, Spike Jonze taps into an unshakable emotional truth that cannot be faked. Every frame of this film is marked with intense feeling and creative passion. Hats off to Jonze and co-screenwriter Dave Eggers for lengthening Maurice Sendak’s original story, while retaining the book’s simplicity. And while the film’s plot is simplistic, the emotions in the movie are complex, messy, and unflinchingly honest. Jonze has undoubtedly created true masterpiece. But, more importantly, he has created a film that means a lot to me. I will forever cherish this wonderful piece of personal filmmaking.






2. “The Hurt Locker”




A phenomenal mix of adrenaline-pumping action and believable, engaging characters, “The Hurt Locker,” Kathryn Bigelow’s Iraq War epic, is a triumphant directorial achievement. Bigelow, who directed cult classic “Point Break,” delivers an unbearably tense and devastatingly realistic picture, depicting the horrors of war without slapping on any explicitly stated political messages. Bigelow, working off a fantastic script by Mark Boal, merely shows the day-to-day life of three bomb tech soldiers. Orchestrating several superb action sequences, Bigelow not only rattles your nerves, but also engages your emotions through her sharp character focus. Bigelow also understands the geography of her sequences. In many supposed “war epics,” the action is so incoherent that the audience has no clue what the heck is going on. This is not the case in “The Hurt Locker.” Bigelow understands the immediacy of her action sequences and perfectly frames them to ensure the audience knows exactly what is going on. Thus, the film drips with intensity. This intense suspense, created by a seamless combination of action and character, makes “The Hurt Locker” proof of Kathryn Bigelow’s immense talent.





3. “Inglourious Basterds”



Filled with memorable characters and set pieces, Quentin Tarantino’s “Inglourious Basterds,” a film that defies any conventional genre description, works on several different levels. Whether viewed as a Jewish revenge fantasy, or a treatise on the persuasive power of cinema, Quentin Tarantino’s self-proclaimed masterpiece is the most unique film of the year. Boosted by meticulously crafted dialogue and excellent music choices, the film boasts several memorable sequences. From Hans Landa’s interrogation of the French milkman to Shoshanna preparing for her revenge to the tune of David Bowie’s “Cat People,” hardly a scene falls flat. The film also contains several great performances. Christoph Waltz perfectly embodies Hans Landa’s devilish charisma and malicious cleverness. Melanie Laurent captures Shoshanna’s anger and vulnerability with great subtlety. And Diane Kruger amps up Bridget von Hammersmark’s movie star persona, while still capturing the humanity of the character. But, of course, none of these performances would be praise-worthy if Tarantino had not crafted such interesting, layered characters. To conclude, “Inglourious Basterds” stands out as one of 2009’s greatest films from a truly original, insanely gifted, auteur.

4. “Duplicity”


Tony Gilroy’s “Duplicity,” a quick witted spy movie, delights with clever dialogue and suspenseful set pieces. Starring Julia Roberts and Clive Owen as two love-struck corporate spies, the film oozes with charm. While the film’s primary concern is the couple’s spy romance, it also cleverly pokes fun at the competitive nature of the corporate world. In the best opening credits sequence of the year, two corporate CEOs, played with cutting satire by Paul Giamatti and Tom Wilkinson, duke it out at an airplane tarmac. But, this is just one of many great sequences in “Duplicity,” all of which feature a fantastic original score from compose James Newton Howard. Smartly edited and superbly lit, “Duplicity” zips along with comic precision and cinematic pizzazz. Pure filmic fun!







5. “A Serious Man”


An impeccably crafted morality tale, “A Serious Man,” the latest from the great American directors Joel and Ethan Coen (“Fargo,” “No Country for Old Men”), entertains its audience with its deliciously dark humor, while simultaneously confounding them with its deep, often open-ended, themes. However, it is the film’s interpretative thematic queries that make it so fascinating. The film follows Larry Gopnik (Michael Stuhlbarg), a Jewish Physics professor, as his life spins out of control. His wife (Sari Lennick) leaves him for his patronizing colleague (Fred Melaned). His daughter is saving up money for a nose job. An unhappy physics student bribes him for a better grade. And his hillbilly neighbors are encroaching on his property line. All of these problems, ranging from trivial to tragic, make Larry question God’s presence in his life. Seeking answers to his run of bad luck, Larry just wants to know what it all means. By the end of the movie, audiences may be asking themselves the same question. This is not a bad thing. Interpretation and ambiguity, when used correctly, deepens and enriches film. The Coens always challenge their audiences with daring, original work, and “A Serious Man” is no exception.

"A Serious Man" Review

“A Serious Man,” a dark comedy from directors Joel and Ethan Coen (“Fargo,” “The Big Lebowski,” “No Country for Old Men”), follows Larry Gopnik (Michael Stuhlbarg), a Jewish physics professor, as his life spirals out of control once his wife (Sari Lennick) divorces him. And as Larry tries to save his relationship with his wife, life bombards him with even more problems. Soon, Larry starts questioning whether God is punishing him.

While the plot of “A Serious Man” sounds simplistic, the ideas behind the film are not. The film tackles the complexities of religion head-on. Larry, like many religious people, wonders why so many bad things happen to him, when he is trying desperately to be a serious, religious man. When he visits several rabbis for counsel, they do not seem able to give him a definite answer. Through Larry’s situation, the Coens seem to be suggesting that one cannot fully understand the method to God’s madness. According to the Coens, life does not have one definite meaning.

Likewise, “A Serious Man” does not have one definite meaning. Part of what makes the film so rich is how open it is to interpretation. The deliberately ambiguous ending begs the audience to ponder the film's meaning. Thus, the discussion that the film fosters can be almost as rewarding as the film itself.

While the film is cerebral and philosophical, “A Serious Man,” like many films by the Coen Brothers, is also quite funny. While not all of the humor works and some of it may be lost on a non-Jewish audience, several scenes rank among some of the funniest of the year. From a pair of racist neighbors to a silent rabbi, the film features several quirky, often hilarious, characters. However, one truly stands out. Sy Ableman (Fred Melamed), one of Larry’s fellow professors at the university, condescendingly consoles Larry to great comedic effect. Melamed easily gives the funniest performance in the film.

The film’s other performances are also quite good. Stuhlbarg embodies Larry with such sincerity that it is almost impossible not to sympathize with the character. Aaron Wolff also fares well as Danny Gopnik, Larry’s son. However, Richard Kind, who plays Larry’s brother Arthur, is far too over-the-top. It may not be entirely Kind’s fault, because the character feels a tad underwritten, but Kind does not help the situation by devolving into shouting instead of deepening his character.

While “A Serious Man” does not rank among the Coens’ best work, it is still undeniably strong, both stylistically and thematically. For directors with over a twenty year filmography, they continually challenge themselves to produce fresh, unique films. With the Coens still working, there is proof that creativity remains strong in modern cinema.

B+

Have you seen "A Serious Man?" If so, leave your thoughts in the comments below. Remember, you don't need a Blogger account to comment. You can use the "Name/URL" option or remain Anonymous.

My Weekend

I don't know if there are any Fall/Winter movies that I am more excited for than these ones. Let's hope I'm not disappointed! Expect full reviews within the next week. I'll defenitely have my ratings finalized and in the sidebar by Sunday.

What's Left?: Cinema Soups' Most Anticipated Films for the Rest of 2009 (Part 2 of 2)

As the summer draws to a close, you may be wondering, "What's left?" No need to fear! Cinema Soup is doing the investigating for you. Check out part one of our preview here.

And now, without further ado, Part 2 of our Fall/Winter preview.

Let's start with "The Road." The film, based on the novel by Cormac McCarthy ("No Country for Old Men"), follows a man (Viggo Mortensen) and his son (Kodi Smitt-McPhee) as they seek refuge and try to survive in a post-apocalyptic future. What seems to be an emotional tale of survival has been marketed as an action-packed thriller in the film's trailer (see here). Having read a few chapters of the book, I know for sure that this trailer is misleading. "The Road" should have some thrilling moments, but - if it stays true to the book - it should be more about the father-son relationship. And Hollywood is notorious for marketing dramas as thrillers, because - apparently - audiences will not be interested in a movie unless it has three explosions per second. Anyway, the film's imagery looks stunning, Viggo Mortensen looks fantastic in his role, and the film on the whole looks incredibly intriguing. Let's hope "The Road" lives up to its promise when it opens on October 16th, 2009.

Speaking of dark subject matter, in this case a dark comedy, the trailer for the Coen Brothers next film "A Serious Man" looks great. This film was completely off my radar until now. Check out my full thoughts here.

Next up is "Shutter Island," the latest film from acclaimed director Martin Scorsese ("Goodfellas," "The Departed," "Taxi Driver," "Raging Bull"). "Shutter Island" follows U.S. Marshal Teddy Daniels (Leonardo DiCaprio) as he investigates the disappearance of a female patient from a mental hospital. As Teddy gets further enveloped in the case, he makes some shocking revelations about the establishment. It is best to leave the plot description there. Having not read the original novel, I do not know much more about the plot. However, I feel that the film's trailer may give away some crucial plot details. You can check out the trailer here, but I would suggest you stop watching after the one minute mark. Anyway, the film looks creepy, atmospheric, and suspenseful. Let's hope "Shutter Island" is another Scorsese gem when it hits theaters October 2nd, 2009.

And we will conclude with "The Lovely Bones," based on the best-selling novel by Alice Sebold. The film, directed by the great Peter Jackson ("The Lord of the Rings," "King Kong"), follows Susie Salmon, a young girl who is murdered, as she, from some sort of afterlife, watches her family cope with the tragedy of her death. The film's trailer shows off some stunning visuals, but I am mixed on the trailer as a whole. The trailer makes the movie seem tonally confused (is it a drama? thriller? fantasy?) and some of the acting looks so-so. However, the good certainly outweighs the bad. Saoirse Ronan, Susan Sarandon, and Stanley Tucci all look great in their respective roles, but, still, something just feels a little "off." Oh, well. You can't really judge a film by its trailer anyway. Here's hoping "The Lovely Bones" is lovely when it opens wide on December 11th, 2009.

Well, dear reader, what do you think? Do you disagree with my picks? Would you like to add your own? Leave your thoughts in the comments. And remember you don't have to be a member of Blogger to comment. Just use "Anonymous" or "Name/Url" in which the URL is optional. Thanks!

"We're gonna be fine."

The Coen Brothers ("No Country for Old Men," "O, Brother Where Art Thou") have just released the trailer for their new film, "A Serious Man." It is quite possibly one of the best trailers I have ever seen. I love the repetition and music cue at the end. The film is about a (serious) man whose loses control of his life after his wife divorces him. It looks deliciously dark and filled with satiric wit. "A Serious Man" opens on October 2nd, 2009.



Your thoughts? Race to the comments!