A Serious Man

[Smarmy Douche]

http://upload.wikimedia.org/wikipedia/en/e/ef/Aseriousman.jpg

Directed, Written, and Produced by Joel and Ethan Coen

Starring
Michael Stuhlbarg
Richard Kind
Sari Lennick
Adam Arkin
Fred Melamed
Aaron Wolff

Comes into limited release October 2nd.

"Please, I need help..."

http://image.examiner.com/images/blog/wysiwyg/image/aseriousman.JPG

Looks fantastic.

[Tweek]

Closing this until tomorrow. If I haven't, send me a PM. I just probably forgot.;)

[Bourne101]

Easily one of my most anticipated films for the remainder of the year. It looks fantastic and I've been hearing some really great things about it.

[Tweek]

Did I forget to actually close it or did another mod open it back up? :confused: Ah, doesn't matter.

Anyway, I don't highly anticipate this but I'll probably give it a watch

[Strider]

Hell fucking yeah!

That's all I have to say...

Strider

[Katsumoto]

Boy, oh, boy for you guys that are anticipating this, here's a little something to add to your enthusiasm. I saw this in Toronto this year and it is easily in the Coen's top five films. It was my second favorite film of the fest, but the more I think about it, it's probably the best film I saw this year. The lead actor, Michael Stuhlbarg, is a revelation. I can't wait to see this masterpiece again!

[HurricanesR1]

why such a limited release?

[Mr.HyDe807]

I don't have any real excitement apart from that it's a Coens movie. However, I'll definitely check it out when it comes through my neck of the woods.

[Bourne101]

Boy, oh, boy for you guys that are anticipating this, here's a little something to add to your enthusiasm. I saw this in Toronto this year and it is easily in the Coen's top five films. It was my second favorite film of the fest, but the more I think about it, it's probably the best film I saw this year. The lead actor, Michael Stuhlbarg, is a revelation. I can't wait to see this masterpiece again!

Great to hear! I cannot wait to see this. I hope it expands quickly.

why such a limited release?

You'd think it would have gone wide considering the Coens released Burn After Reading around the same time last year and it did very well... but the fact of the matter is, Burn After Reading had an all-star cast, while A Serious Man is filled with unknowns. It was also released by Focus Features whose company consists of a bunch of fucking cunts who never release their films very wide. I mean, they released 9 (a film that had a ton of marketing) in less than 2000 theatres. Hopefully they wake the fuck up and give this at least a semi-wide release within the next couple of weeks.

[Bahs]

I hate that movies like this get limited release because i always have to end up driving about an hour away to see them, sometimes i dont even bother. It i hope it gets some critical acclaim like No Country and ends up getting a wider release then i will definitely be seeing it.

[cupajoe]

What is the name of the Hendrix song that plays during the Rabbi's story.

[Beard_of_Meat]

This really sucks...the closest theater that's playing this movie is in Evanston,IL..which is like an hour and a half drive each way

[APzombie]

the theater i project at is getting this late in October. The studio sent us a crapload of copies of the trailer in flat and scope, so i literally have seen it every day for a month and a half.

Still cant wait.

[drc5145]

It's playing at an art house theater near me right now so my brother and I may catch it this coming sunday. I've been excited since the 1st trailer and the subsequent reivews...

[BakeTheMooCow]

I loved it, but I am obsessed with the Coens' obsessions like human suffering, morality, fate and free will, the lure of money and regionalism, language, and dialects. Experience and familiarity with Jewish tradition will go a long way towards the enjoyment of the film, although it is outright necessary because the themes are so universal and personal on the Coens' part. I loved all the biblical motifs, callbacks to other Coen films, and the fact that it is so layered. The acting and script are all pitch-perfect, but it is the layers that make it what it is because this movie is destined to be studied, puzzled over, discussed and rewatched many times, much like No Country For Old Men, Barton Fink and Raising Arizona. They have other great films, but these are the ones that are least straightforward and A Serious Man will join their ranks soon.

[The Postmaster General]

I loved it, but I am obsessed with the Coens' obsessions like human suffering, morality, fate and free will, the lure of money and regionalism, language, and dialects. Experience and familiarity with Jewish tradition will go a long way towards the enjoyment of the film, although it is outright necessary because the themes are so universal and personal on the Coens' part. I loved all the biblical motifs, callbacks to other Coen films, and the fact that it is so layered. The acting and script are all pitch-perfect, but it is the layers that make it what it is because this movie is destined to be studied, puzzled over, discussed and rewatched many times, much like No Country For Old Men, Barton Fink and Raising Arizona. They have other great films, but these are the ones that are least straightforward and A Serious Man will join their ranks soon.

Well-written, man. I'm so eager to see this, because the trailer alone has given me more of that Coen-feel that I appreciate and haven't gotten from their trailers since The Man Who Wasn't There.

[BakeTheMooCow]

I meant to say that it is NOT outright necessary to be familiar with Jewish tradition, it just heightens the enjoyment. I myself am no expert, but I do have some knowledge from friends, books, movies, TV, internet, etc. The audience I watched it was much older and presumably heavily Jewish because there was constant laughter throughout at little things that didn't register with me.

Some people (like Ella Taylor in the Village Voice) have called the Coens self-hating Jews for the characters and jokes in this movie, and far be it from me as a goy to tell a Jewish person that they can be offended or not offended by this movie, but I took it as a labor of love through and through. The Coens themselves growing up in Minnesota in the 60s is the first indication of that.

It's really about Jewish storytelling, from the opening 'short story' to the hilarious story contained within about a man and his teeth to the obvious parallels to the Book of Job (which like Odyssey to O Brother Where Art Thou?, remained a very loose influence).

You really get to soak in the characters and atmosphere, thanks in large part to Roger Deakins who is a master (there are shots like Larry spying on/coveting his neighbor's wife and her fence has obscured just enough, or another where he is in a motel room and a passing car shines a light on the person in the other bed, and these shots are gorgeous) and also Carter Burwell who has composed another killer score here.

[The Postmaster General]

Yeah, I caught taht - figured it was a typo from the context. You have me so pumped to check this out.

[FireCaptain4]

Wow, I loved this film. They nailed the Jewish lifestyle. The Gopnik's themselves remind me precisely of some aunts/uncles/cousins of mine on my mother’s side of the family. I'd actually place this up there as one of my favorite Coens films.

What are everyone's top 5 favorite Coen films?
Mine:
1) The Big Lebowski
2) O Brother, Where Art Thous?
3) Fargo
4) A Serious Man
5) Burn After Reading

[drc5145]

All the positive reviews from you guys are only making me more excited to this this. Possibly may see tomorrow, iffy schedule my brother and I have.

Top 5 Favorite Coen Bros. films

1. No Country For Old Men
2. The Big Lebowski
3. Fargo
4. Blood Simple
5. Burn After Reading

[DaMovieMan]

The Coen Brothers show off their knowledge and relationship to their Jewish heritiage with this little film. Certainly worth while, at times hilarious and at others very sombre and even quite depressing. The Jewish referrences flew by me but like BaketheMoo says the themes are certainly universal and it never crosses over that line where you would be totally lost if you're not Jewish. One of my favorite aspects of the film is the unrecongnizable cast who all do a terrific job. Richard Kind is the only one I knew of before watching the film, but his part was quite minimal, the real star of course is Michael Stuhlbarg who delivers ten-fold as the confused and lost mathematician seeking the answers that never come. A Coen film through and through with their signature black humor, pitch perfect Carter Burwell score and meticulous shots and angles.

Can't wait to add this one to my collection of Coen gems. Not quite as funny or close to my heart as Burn After Reading but certainly with more depth and food for thought after credits. One can't help but think that it's a film made for Jewish audiences in mind but thankfully it's one that can be appreciated by all regardless of race, religious beliefs or values.


8/10

My Top 5 Favorite Coens:

1. Fargo
2. Big Lebowksi
3. Barton Fink
4. The Man Who Wasn't There
5. Burn After Reading

[drc5145]

"Accept The Mystery!"

I just got back from seeing it and I had a great time. Similar to what Bake previously posted, the film is loaded with themes of religion, free will, morality, the lure of money (A famous theme common in many Coen movies) among others. I'm not THAT well versed in the Jewish religion but I know enough to get by on. The themes are universal enough though that anyone can pick up the pitch well and read into it. I certainly did.

Michael Sthulbarg is fantastic in the role and plays every scene pitch perfectly as a lost man whose world continually falls deeper and deeper into a hole he can't climb out of. Everything from the cinematography to the score work great here to create a pretty fascinating story about a man trying to find answer from god, with all the chaos going on around him. For me, it felt like a blending of Fargo, Burn After Reading and Barton Fink with some new distinguishable elements as well. It's funny, ridiculous, serious and all around fascinating.

I'd like to add I really liked the little motifs with Jefferson Airplane throughout the film.

9/10

[bigred760]

Just saw that this is playing in a theater near me.

Damn . . . so many movies to watch . . . so little time.

[JCPhoenix]

Saw this tonight along with Where the Wild Things Are...I think this falls nearer to the bottom than the top of the Coens' impressive filmography for me (we're not talking Ladykillers level here by any means) but it's still impeccably crafted as usual and a pretty good movie. I just found it a little aggravating at times to watch the (intentionally) passive character take all the abuse that is dished upon him and some of the humor fell flat for me. I really loved the way it ends though. It builds in the perfect way to the right moment - I was surprised at first when the credits showed up where they did but it felt fitting nonetheless.

[drc5145]

There was something I thought about after the movie that made me wonder a bit...

Did Sy Ableman have what was coming to him? Considering he pretty much stole a neighbor's wife (Judith) shortly after his own (Esther) dies, manipulates Judith into forcing Larry out, passively (and practically) insults Larry continually, and gets killed for a little amusement. I wondered considering the nature of the movie if it was just some random happenstance or his punishment for all the shit he did.

[SpikeDurden]

Writing about this film is a daunting task. For one, it is as layered and complex as a great novel. For two, it is an absolute masterpiece, and it is never an easy thing to try and define why something is so. In their career as filmmakers the Coen brothers have touched upon a wealth of genres, have won awards and a loyal fan base, and have made some of the most unique and fascinating films of the past 25 years. With A Serious Man they have made perhaps their most personal film, at once a religious parable, a modern retelling of the Book of Job, a meditation on fate and coincidence, and an absolutely hilarious black comedy.

To talk about the high quality acting from the mostly unknown cast, or the typically terrific cinematography of Roger Deakins would almost be a disservice. Like Barton Fink and No Country For Old Men before it, A Serious Man infests your soul with darkly philosophical musings. Seen through the eyes of a mostly Jewish world, in particular Larry Gopnik (theatre vet Michael Stuhlbarg, terrific here) a physics professor obsessed with Schrodinger’s cat (this is more important than you might think) who finds that awful things seem to be happening all around him. This is a film that asks questions, but does not necessarily answer them. And if/when the answers come, they do not always come in the way you expect them to. Perhaps these answers hit you immediately or perhaps they hit you hours later, after pondering the film. And it is certainly a film worth pondering, over and over again.

Larry Gopnik asks himself “why me?” We all ask ourselves this everyday. Do the things that happen to us happen simply because, or do they happen as a result of our actions. The ending of this film, one of the most startling and haunting endings in recent cinema history (and one that sits in intellectually common ground with the ending of the Coens’ last two films) may seem to answer this question, but it is also a paradox to what happens previously in the film. An opening prologue, displayed in full frame with Yiddish subtitles at first seems out of place, and perhaps it is, but it also holds the key to answering this film, whatever way you look at it. And there certainly are a multitude of possible answers.

Do we listen to the first Rabbi and just look at the parking lot? Do we listen to the second Rabbi and realize that the important lies in the mathematics and the journey and not in the answer? Or perhaps we listen to the third Rabbi and realize that there is no answer at all. Ultimately, though, we just need to take a step back and stop worrying about everything so much. Constantly worrying gets us nowhere, and we often discover later on that we have worried for no reason at all. And maybe, then, we need to listen to Clive Park’s father and just accept the mystery. All of this from a simple black comedy, but really it is a landmark cinematic achievement. I dare you to watch this and Synecdoche, New York back to back.

10/10

[Lat er al]

Can't wait to see this. I love Synecdoche, New York as well.


Top 5 Coen Films:
1. No Country For Old Men
2. Intolerable Cruelty
3. The Big Lebowski
4. Barton Fink
5. Burn After Reading

[Mr.HyDe807]

This is coming out in my neck of the woods tomorrow, so hopefully I can check it out tomorrow unless my co-worker calls me to help him with stuff.

[Mr.HyDe807]

Faith and direction is something that is certainly divided among people. Some people regard it highly, yet some take it with a grain of salt. Yet, in Coens Brothers new movie, the faith of Judaism is thrust at mathematical professor Larry Gopnick (Michael Sthulberg), in which his troubled times call for him to reach out to rabbis for the tough answers to life's problems.

The problems that Larry begins to have slowly creep up to him slowly and surely. He is facing divorce, a possibility of not getting tenure, financial troubles,his live-in brother, and his son's upcoming bar mitzvah are just the tip of the iceberg. The Coens delve into these situations with the dry humor that they are known, and are respected for. Yet, with the subject of most of it centering around Judasim, I have to say that some stuff didn't really ring true to me, causing me not to think that it was laugh out hilarious, just slightly humorous. The same can be said to the moments that Larry faced with his weird neighbor and foreign student.

Yet, while not being close to most of the themes of Judaism, I can definitely attest to the themes that were being presented. The consequences and doubt that were faced in terms of going against what we are raised to know and hold dear to in our religious ideals. That was something that I could defintiely connect to in this movie, especially how the movie would go into these ideas by going back and forth from Larry and his pot-smoking delinquent son, Danny (Aaron Wolff).

The direction and cinematography was excellent, bringing about the camera work of quiet serenity, but looming chaos from No Country For Old Men to the 1960s suburbia setting that A Serious Man holds dear. The soundtrack brings a little Jefferson Airplane, as well as a building sound that definitely complement to the ongoing moments that culminate in this film.

At the end of it all, A Serious Man is another hit for the Coens Brothers, though not as widely regarded with their previous work like No Country for Old Men or Fargo. I was thinking of giving it a 7.5, but after considering that excellent themes of faith, and the place it has in our times of trouble, I definitely think it deserves at least an 8. It can seem a bit dry in some parts, but it all comes together warmly in the end.

8/10

[APzombie]

finally saw it. Can't say much more than - Jesus Christ. They've done it again. This is a near flawless picture, i absolutely loved it.

****/****

[Bourne101]

Going to see it this upcoming weekend. Absolutely cannot wait.

[Bourne101]

A Serious Man - 9/10

The Coen's have done it again, plain and simple. It is literally killing me not to give this a 10/10, but I do need to see it again to absorb everything and have some of the questions I still have answered. There are honestly no evident flaws to be seen. The film is impeccably crafted, superbly acted, funny, dark and more intelligent and thought provoking than any film I have seen in a long time. The showing I was at ended three hours ago, and since then me and the people I saw it with have not stopped talking about it; talking about not only how good it is, but talking about the themes, messages, symbolism, correlations, etc. I can't remember the last time I saw a film with so much depth. Probably There Will Be Blood. It has all the attributes of a classic Coen picture and ranks among their finest. What is great about the Coen's is that, even though you know that bad shit is going to happen to the characters, all of their films are still very unpredictable. They are not fast paced thrillers or anything, but you literally can never guess what is going to happen next. The dialogue is sharp and often funny and the soundtrack and score are absolutely perfect. My favorite part has to be the the final shot though. There has not been a final shot that great in years. The way the Coen's set it up and the music that accompanied was all just so perfect. This is easily one of the best films of the year and it should get a best picture nomination.

[bigred760]

This movie definitely needs to be explored more to fully appreciate it. I watched it a few hours ago, loved it, but still have a few questions about and look forward to searching for the answers. But its themes about religion, family, morality, and other things are in the foreground. This really is a fascinating character study to watch in that the characters and events in the movie are funny at times, sad at times, definitely relateable through most of the movie, and it's interesting to see what could happen next to this guy.

8/10

[hoojib127]

One little gaffe I noticed: if this is indeed 1967 (as the calendar in the junior rabbi's office and the prominence of songs from Jefferson Airplane's Surrealistic Pillow would indicate), WHY Columbia House be selling 2 albums that did not come out until 1970 (Santana's Araxas and CCR's Cosmo's Factory)???

Granted, this is not the first album gaffe I've seen in movies (the presence of Miles Davis' 1986 album Tutu in the late-50s-set "The Talented Mr. Ripley" and Joni Mitchell's 1973 album Blue being in William's sister's record collection in 1969), and probably won't be the last. : ?

Anyway, this was one of the Coens' best. Way to do our home state proud! 9.5-10/10.

[Dutchman]

Fan-tas-tic.

****/*****

[jz68]

1. The Big Lebowski
2. Raising Arizona
3. No Country For Old Men
4. Fargo
5. Miller's Crossing

[drc5145]

In case people are interested, there's a pretty cool Podcast done by /Film.com where they review and discuss A Serious Man along with Richard Kelly. It's a pretty cool piece, to see them kick around their ideas and interpretations about the movie.

http://www.slashfilm.com/2009/11/03/filmcast-ep-74-a-serious-man-guest-richard-kelly-director-of-the-box-southland-tales-and-donnie-darko/

[Cop No. 633]

I saw it and enjoyed it. I think the film really explains the Coen Bros' themes from their other films. This film doesn't really embrace being Jewish as much as it shows why the Coens don't believe in Judaism and are atheists (see every film they've ever made where there is no allusion to a "higher power"). The film is a farce about a man who is rational by nature (he's a physicist and a mathematician) but still is a slave to his Jewish upbringing that has brought him nothing really positive in his life. He begs for advice and all he gets are anecdotes which solve none of his problems. He wants some kind of answer but never gets any because there aren't any to give. It's funny because this film could have been resolved rather easily if Larry said fuck you to his wife and Sai and stopped asking others for advice. This is sort of like American Beauty if Lester Burnham was Jewish and had no balls whatsoever.

I have a sneaking suspicion that they wanted to top No Country for Old Men and make the most abrupt ending they could think of. I think in a way, they're saying what they have been telling us for a couple of films now: life is really about nothing. Thematically, it fits with Burn After Reading's ending I think.

7/10

[Earl Bonds]

What a piece of shit movie

I feel like "A Serious Douche" for wasting my time on this crap. The Coen bros get worse and worse as the years go by, someone needs to help them out with their stuff big time. I'm surprised this wasn't straight to DVD, guess their still living off the No Country fame...


3/10 Dont waste your time or money

[Kevin Smith fan]

<----Why is this guy still here?

[Cop No. 633]

you know, I have to give Earl the benefit of the doubt. I liked the movie (didn't love it) but I could see why people would hate it. The Coen Bros have that effect.

[Tweek]

you know, I have to give Earl the benefit of the doubt. I liked the movie (didn't love it) but I could see why people would hate it. The Coen Bros have that effect.

Indeed. I hated No Country for Old Men but I liked other things they've done.

I'm still not sure if I want to see this, though.

[Strider]

A Serious Man - 9/10 or ****1/2/***** stars

A Serious Man, the Coen Brothers' cinematic re-telling of the biblical story of Job, is their darkest comedy (even darker than Barton Fink), their most personal film, their strangest film (even stranger than Barton Fink), and one of the best films they've ever made. Michael Stuhlbarg, who plays Larry Gopnik, a suburban, mathematically skilled version of Job, delivers a terrific, Oscar-worthy performance. Although I'm still grappling with understanding its cluster of themes, A Serious Man is hilarious, thought-provoking, and full of Coen Brothers brilliance. If you hated the sudden ending of No Country for Old Men, you'll hate A Serious Man's utterly bizarre ending even more, but here's a piece of advice before you watch the film: just "accept the mystery."

Note: Sy Ableman is easily one of my favorite Coen Bros. characters.

Strider

[Strider]

you know, I have to give Earl the benefit of the doubt. I liked the movie (didn't love it) but I could see why people would hate it. The Coen Bros have that effect.

That's a good point.

Some of the Coen Brothers' films divide viewers into love/hate groups, and A Serious Man is certainly one of those films. Therefore, I understand Earl's reaction to the film. I vehemently disagree with Earl's thoughts on the film, however. I didn't even like A Serious Man -- I loved it. It's not only one of the best films of the year, but it's also one of the best films the Coen Brothers have ever made. A Serious Man proves that the Coen Brothers are among the best filmmakers working today.

Strider

[forty6and2]

So, I just got back from the movie and I hought it was great. But anyway, I had a thought about the final scene that I havnt heard anyone comment on. Throughout the movie you never see the kids face (the one his son is trying to pay back) until the very end (i forgot his name). And he is always chasing his son in his house. I could see how this kid was symbolic of evil, or the devil, if you will.

What are your thoughts?

[bigred760]

I don't know if the drug dealing kid is supposed to symbolize the devil; especially if the main character in the movie is supposed to be a Job-like figure. There are a lot of biblical references in the movie, but I'm not sure if that's one of them.

[FrancoYesca]

Caught the flick yesterday and it actually took me about two hours after I left the theater to really absorb it. I thought it was terrific. I can definitely see how some people would not like it, or even hate it. Props to whoever caught the Cosmo's Factory slip-up. The Coen's and their CCR, man.

8/10

Oh and just to add, when I left the theater I passed an old couple getting out of their seats. The old woman looked at the old man and said, "I didn't understand that at all." The old man replied, "There's nothing to understand." Wow.

[EDsoulsurvive*]

SPOILERS
I don't mean to cheapen the practice of analyzing A Serious Man, but I'm lazy and was pretty blazed when I saw it, so I'm just wondering about the meaning of the storm/tornado at the end. Can I get some takes on it?

[Mr.HyDe807]

SPOILERS
I don't mean to cheapen the practice of analyzing A Serious Man, but I'm lazy and was pretty blazed when I saw it, so I'm just wondering about the meaning of the storm/tornado at the end. Can I get some takes on it?

I may be completely off from my take, but I thought it was because the kid didn't listen to the Rabbi and started listening to the radio, so he was being punished. The same with Larry getting the easy way out by giving Clive a good grade and getting a call from the doctor.

I may be completely off the mark, so if anybody can call me out on this, feel free.:p

[bigred760]

SPOILERS
I don't mean to cheapen the practice of analyzing A Serious Man, but I'm lazy and was pretty blazed when I saw it, so I'm just wondering about the meaning of the storm/tornado at the end. Can I get some takes on it?


I may be completely off the mark, so if anybody can call me out on this, feel free.:p

According to imdb:

As with all Coen brothers movies, there are many allusions in the film . . . His son Danny's looking at the oncoming tornado recalls God speaking to Job from out of the whirlwind, saying He will not explain why these bad things have happened to him.

[Mr.HyDe807]

Ahhh, gotcha Bigred. I should have just looked over the story of Job to get a better grasp on this flick.

[Monotreme]

Full review:

The Coen brothers never cease to amaze me. It’s just incredible and wonderful to see a directorial duo with such a distinct and unique cinematic voice, yet who still manage to re-invent themselves with every subsequent film. Just these past three years they went from a gritty, dark, dramatic crime-thriller (“No Country for Old Men”), the likes of which they hadn’t made since their first film in 1984, “Blood Simple” (“Fargo” was injected with far more humor than the two aforementioned films), to a hilarious, over-the-top espionage spoof comedy with an all-star cast (“Burn After Reading”), to their latest, “A Serious Man”; a deeply personal and philosophical family dramedy lacking both in recognizable film stars and in murder plots or any of a wide assortment of other genre filmmaking staples that have characterized the Coen’s oeuvre throughout their careers. It is really the only film of theirs I can think of that isn’t overly stylized and actually attempts to exist in the real world, although it is obviously a skewed version of the world as seen through the Coen brothers’ eyes; so many elements come into play during the film, from their own childhood memories of being on the verge of adolescence in the suburban Northwest in 1970, to their Judaism and what that faith meant to them then, and now. And due to all this content and subtext, ideas and themes, the film also becomes what may be their most cerebral one yet.

It is certainly an odd bird of a film. The Coens start it off with a pre-credits stand-alone short depicting an old fable of a Jewish couple being visited on a cold, winter’s night by a Rabbi who may or may not have died three years prior; in classic Coen style, when the brothers couldn’t find an existing fable that fit what they wanted to tell, they made one up and wrote it entirely in Yiddish no less. Afterwards the actual film begins and the connection between the Yiddish short and the 1970’s-set story is never really made apparent. The story launches us into an intricate world constructed partly of memory and partly of historic events, a stylized version of the Coen brothers’ childhoods if you will; rich with period detail but also with more dream-like imagery. The story itself is highly allegorical. Larry Gopnik finds the American dream falling apart around him. His brother is a mathematical genius but is also a sociopath and a slob who sleeps on Larry’s couch and constantly finds himself being brought home by police officers for illegal gambling. His son is rebellious and disrespectful, smoking marijuana and listening to Jefferson Airplane and Santana on a transistor radio while in Hebrew class. His wife leaves him for his best friend. And all the while, Larry tries (and ultimately, pretty much fails) to understand why all this is happening to him. Is it the world that is changing around him? Or has he done something wrong? Is it his drifting away from his faith? Perhaps it is he who is unfaithful to his wife, gawking at his promiscuous neighbor from his vantage point on the roof of his house while she sunbathes? Is he letting his son slip away, or is his rebellion simply the natural evolution of American culture at the time, drifting away from faith and values and tradition and plugging into the pop culture information stream. The film raises these questions and many more, and doesn’t seem particularly interested in providing answers for them. Rather, it tries to craft an understanding of the period and of the culture, perhaps to indicate the huge gap between where things were then and where they are now.

This brings me to one of if not the most important themes the film deals with: its characters’ Judaism. I’m sure that many people from all creeds and faiths can enjoy the film’s style and its philosophical ruminations, but I do think that, as a Jewish person myself, and furthermore as one who has had personal experience with the Jewish Community in the United States and what it symbolizes and entails, its values and traditions – I may have gotten a little extra something out of the film, seen it on another level. As the plot develops events start to become odder and odder and subsequently more and more symbolic and allegorical in terms of what the characters are going through, dabbing primarily in themes of fate. Two freakish car accidents occur at the same time; one leads to death but in the other, Larry is spared. Why? And is if even a good thing that his miserable life didn’t just end right there. Later, Larry is visited by a spiritual personification of the victim of the other crash. Is this a visit by a dybbuk – a spirit come to life according to Jewish folklore – and does it curse Larry? Or perhaps the couple seen in the prologue being visited by a dybbuk themselves are Larry’s ancestors, and he was already cursed from the get-go. Does Larry control his actions and his fate, or has everything been pre-determined for him? The question of fate is one that comes up often in discussions about faith and religion; a man could lead the most secular life and have only good things come to him, while another man could devote himself to God and find his life plagued with tragedy. The Coens seem quite interested in what this means in terms of man’s relationship with God, and how faith influences a man’s life. There also seems to be some harsh criticism against the organized religious Jewish establishment: Throughout the course of the film Larry visits three Rabbis seeking advice, each one symbolizing a different generation. The young Rabbi is obviously completely out of touch with the Jewish tradition and faith, and doesn’t even know what Larry is talking about when he mentions that his wife wants a “Get” (a traditional Jewish divorce). The second, middle-aged Rabbi tells Larry a long and convoluted allegorical tale that seemingly has no point whatsoever. And the third Rabbi, representing the elder generation rooted in tradition and custom, won’t even see him. What this means about the Coen’s opinion about the establishments and higher authorities of organized religion, one can only assume.

I’ve gone on about the film’s themes and ideas and haven’t even mentioned its technical elements, which are definitely worth bringing up. After a one-film gap the Coens are back with their regular cinematographer, Roger Deakins, and the return to form is quite apparent. “Burn After Reading” was shot by Emmanuel Lubezski, another one of my favorite working cinematographers but whose work on that Coen film was pretty generic; the visual language in “A Serious Man” just emphasizes the great rapport the directors and Deakins have acquired over the years. It’s a highly stylized and gorgeously shot film, featuring the Coen’s usual style of a constantly moving camera with many smooth dollies and crane shots, and also Deakins style of indirect lighting and asymmetrical but aesthetic compositions, and all of it combined serves to create a uniquely rich visual style that has come to be identified with and be expected of the Coens. I have recently pointed out a trend in the form of the “indie period drama”, independently-produced films with an indie aesthetic (and budget) which are nonetheless rich in period detail and accuracy. A good number of them this year have been set in the 1960’s, interestingly enough, and as expected from the Coens (who are no strangers to period settings), the details in the set design, costumes, cars, language, behavior and everything are exceedingly accurate and detailed. Also worth mentioning are the fantastic performances. As I mentioned before, the film lacks the heavy star-power that has characterized many previous Coen efforts, but the cast is still packed with familiar faces audiences have seen in the background on TV and elsewhere, who really get a chance to shine here. Particularly worthy of note is Michael Stuhlbarg, who completely embodies the role of the neurotic protagonist whose world is crumbling around him. Topping it all off is yet another effective and memorable musical score/recurring theme (as it often is in their films) by Carter Burwell, the Coen’s most loyal and frequent collaborator.

“When the truth is found to be lies / and all the joy within you dies / don’t you want somebody to love / don’t you need somebody to love?” Thus goes the classic Jefferson Airplane song that serves as a recurring motif throughout the film, and I think it pretty much sums up, albeit very simply, what the film is really about. Larry perhaps finds out that the truth he has believed in all his life, invested his faith and tradition in, is not what it seems. Judaism has let him down, specifically his community’s leadership, and all he wants is somebody to love. But his brother is a degenerate. His wife left him. His neighbor seduces him but he knows that it’s not love. His son is a lost cause and drifting very rapidly away from him; his daughter is already long gone. What’s left for him to do? “I’ve tried to be a serious man,” he pleads. By that he doesn’t mean someone who is humorless, but rather, the term refers to someone who is serious about his Jewish faith and about allowing that faith to guide their life. But he is let down, time and time again, and finds himself lost and delirious and jaded. The film’s quite abrupt and startling ending further emphasizes that nobody, especially not Larry, can stop the storm that is about to sweep over his life, and mo matter how he’s led it, how much he’s invested in his faith, his culture his tradition, his values – all of it is meaningless in the ever-changing seas of the world that surrounds us.

RATING: 8/10.

[Canto]

I really liked this, another great Coen Brothers movie. I really hope to see Michael Stuhlbarg get more roles, he was fantastic. 9/10

"I don't want Santana - Abraxas!"

[Macphist0]

The Coens 5th masterpiece for me, it was a classic retelling of an age old story that was as much surreal as it was funny, some smart dialogue had me rolling at times, but I felt it was just me at times ><

All the elements that make them so special were there, and Stuhlbarg was great as you'd expect from a theatre crossover. The only film from 2009 that may enter my GOAT lists.

[HurricanesR1]

Comes out on DVD on February 9. I'll catch it on DVD.

[phelonious]

Bump

[TheDeadWalk]

I'm not ashamed to admit that I didn't get it. After further reading and exploring, I understand the story a bit more, but overall, I still don't get it. I also hated that the protagonist was his own antagonist.

Some of the humor worked well, but after the first hour and a half, I thought that the shit storm on Larry's life had gotten stale.

3/10

[Tweek]

It's on DVD so I'm moving this thread.

[Marley515]

This was a great film! I watched it twice. Good thing I live near D. C. and sometimes we get limited release films.

[HurricanesR1]

Ok, the story was good and all, but where was all of this humor? Did I "miss" the laughter due to my lack of understanding in the Jewish culture? I honestly enjoyed it due to the story, but as far as finding it humorous, no.

[Monotreme]

Ok, the story was good and all, but where was all of this humor? Did I "miss" the laughter due to my lack of understanding in the Jewish culture? I honestly enjoyed it due to the story, but as far as finding it humorous, no.

Not all of the humor requires an understanding of Jewish culture, but it DOES require an understanding of the Coen's twisted sense of humor. Much of it derives from character quirks, reactions, subtleties in the dialogue, etc. The Coens never go for broad, laugh-out-loud humor: it's far more subtle than that, but hilarious if you know to spot it!

[APzombie]

Ok, the story was good and all, but where was all of this humor? Did I "miss" the laughter due to my lack of understanding in the Jewish culture? I honestly enjoyed it due to the story, but as far as finding it humorous, no.

You are approaching the humor with tired eyes. you know what you need? hmmmm. you need-- aha! a new perspective! I mean just look at this parking lot Hurricanes, to you and me it's just a parking lot... but to somebody with no such capacity to comprehend these autos this is a beautiful, funny thing!

... just look at that parking lot...

[outsyder]

A pessimistic but nonetheless twistedly hilarious character study of a man who sees all that he has invested in crumble around him for reasons he cannot seem to figure out. Unaided by figures of authority, his desperation to do right by himself while suffering worse and worse tragedy creates a deep sense of the loss of control, which is at the same time terrifying and darkly funny, as we witness the twists and turns of a path that Larry has no choice but to follow until the end. And what an end.

8/10

[The Postmaster General]

I dug this quite a bit. Not being familiar with the story of Job, I took the film for what it was. I'd fashion this one, in Coen terms, as a hybrid of O' Brother and Fargo - a solid story about things going wrong with mythological overtones, but as with all Coen works, completely original unto itself. The use of "Somebody to Love" seemed suiting to Larry's situation, but in line with my appreciation of the Coen's sensibilities, in a way I can't begin to explain.

Someone commented about the final shot, and apart from the connection to the story of Job, I kind of took it as

[spoiler]The whole movie, Larry's kid is running into the house from another kid who we never see. His parent's never understand why he's always running into the house. Here, they call for him to come running into the house. So when both kids turn away from the tornado, and we see the bully's face for the first time. It gave me the feeling that there was a nod toward there being a bigger force at work in the universe, causing great fear and uncertainty for people - the idea that their lives my be torn up from the ground and wrecked, and it's here where Larry's kid and the bully were connected as we all are, at least in the sense that they are both smaller than the nature of things to come.[/spoilers]

[drc5145]

Ok, the story was good and all, but where was all of this humor? Did I "miss" the laughter due to my lack of understanding in the Jewish culture? I honestly enjoyed it due to the story, but as far as finding it humorous, no.

Please, Accept the Mystery.

[SS-Block]

Its of the quality we've come to expect from the brothers.

Bring on True Grit.

[creekin111]

Didn't care much for the ending but still yet again another unique and interesting Coen bros film. That opening shot after the credits was so fucking awesome!