Coen Brothers Film Analysis
‘Inside Llewyn Davis’, a later film of the Coen Brothers, has an unusual script in terms of the conventional form of screenwriting, but one that is clearly recognisable to be of the Coen brothers. This isn’t to say they aren’t masters of the craft, as their work clearly shows experience and clarity. Instead we see that they keep their creative integrity and that their work can be seen as clearer and more structured than a script that follows all the rules. Their vision and planning through the script is noted by many of their crew-members, including Paul LeBlanc, the hair department head on ‘No Country for Old Men’ who said that “The Coen Brothers say what needs to be said and nothing more in any script.” (LeBlanc, 2013, p.119) Their actors also mention this, as Carey Mulligan who plays Jean in ‘Inside Llewyn Davis’ says “They’re just so
…show more content…
good at telling a really great story. It’s an easy day, you wrap by four o’clock in the afternoon.” (Film 2014, 2014)
The structure of the story itself is non-linear and cyclical; the ending is the first scene and the last scene but with significant changes. To see our protagonist being beat up and vulnerable at the beginning, allows for us to feel more connected with him. Without this, we may have too negative a view of him and therefore not want to follow him on this journey. The structure has also been compared to that of an actual folk song where “the first verse is followed by a series of verses in which unfortunate events occur, and at the conclusion, the tale comes back to the first verse again, though somewhat changed from its first iteration.” (King, 2014, p.94) This is true if we look to the final scene, where this time we Llewyn also sings ‘Fare Thee Well’, we see and hear Bob Dylan as Llewyn is being beaten, the whole scene is filmed differently and the end is extended. Each of these changes has it’s own purpose: ‘Fare Thee Well’ is written into the script and ties off this idea that his life is wronged by Mike is no longer being there, also adding a softer and more likeable edge to the character. Seeing and hearing Bob Dylan, although it is only implied both in the script and in the film, pulls on the irony that Llewyn is talented but isn’t successful and that this film is timed right before the rise of traditional folk music. The final scene is more enclosing but uses a wider range of shots, as there mystery isn’t needed like it is in the first scene; this time we know what is happening and why. The influence of crime writers is evident here with the structure of the plot, as a mystery is set up with the introductory scene and paid off at the end. (Levine, 2000, p.14) In terms of it’s cyclical nature, the brothers said the story is “about a character in a hamster wheel so it’s reflected in how we shape the story” (King, 2014, p.94), showing how heavily the focus is on this protagonist and his story.
Consequently, the story is an odyssey; “C’est une odyssée immobile” (“It is a motionless odyssey”) (Momcilovic, 2013, p.684) that is “episodic in structure.” (King, 2014, p.94) It is a journey that places Llewyn in many different places and situations; some different and some familiar. With this specific character, the story becomes an “anti-Odyssey retaining the form of homecoming only to empty it of any edifying content” (Dimock, 2015, p.327), as Llewyn doesn’t have a home and his quest becomes more of a “week in the life of a loser” than an epic. (Film 2014, 2014) This is where the episodic form comes in, as he is never in one place for long and has “no place to which he could go back, no place where Penelope could wait for him.” (Dimock, 2015, p.327) The exclusion of Penelope is also something to be noted, as perhaps Mike was his Penelope; he becomes a hanging presence in the movie that Llewyn seems to long.
In talking about the film as an odyssey, it is impossible to ignore the cat, Ulysses, and importance of the cats to the story. The brothers tell us that the meaning of Ulysses the cat is that they “wanted to make an odyssey where the hero doesn’t go anywhere.” (Benjamin, 2014) However, it is important to note that Ulysses is the one who “successfully completes the voyage out and the voyage back”, as it shows that it is possible for there to be a homecoming and therefore emphasises the fact that Llewyn doesn’t get one. (Dimock, 2015, p.327) We are also meant to “draw interesting parallels between the two journeying characters”: Llewyn and Ulysses. (The Film Fatale, 2014) One scene in particular that does this is when Llewyn is on the phone to Professor Gorfein’s secretary, and she mishears what he says as “Llewyn is... the cat.” Another is when Mitch says “There’s the cat!” when he opens the door to Llewyn and the cat. The cat as a journeyer is shown through his name being Ulysses, and we know that our protagonist is Llewyn, therefore he is also a journeyer. These two journeys could be considered as the odyssey and the anti-odyssey. The irony of the cat’s name is set-up throughout with lines such as “What’s your name, again?” and “I can't remember its name.” This is paid off with the reveal where even Llewyn himself notices the irony, one of the many self-reflective aspects of the film. The poster that Llewyn sees for ‘The Incredible Journey’ with the cat is also self-reflective and continues the idea of Ulysses’ odyssey. This is further emphasised in the film where we see from the cat’s point of view at times.
Llewyn also expresses how he feels bad about losing Ulysses, which is ironic as the cat is fine, but perhaps the one who actually needs saving is Llewyn himself. This brings us onto the idea brought up in “Save the Cat!: The Only Book on Screenwriting You'll Ever Need” by Blake Snyder of showing a character early on in the film saving a cat, as the audience will then side with them. Llewyn is constantly trying and failing to save the cat. (THE COEN BROTHERS: An Auteur Analysis, 2014) This is another example of the brothers subverting screenwriting conventions and engaging the audience with their protagonist, perhaps even more so because of this.
The anti-odyssey works because “Davis y est presque génial” (“Davis is almost brilliant” ) (Momcilovic, 2013, p.684). He is a man in crisis and Adams tells us that the “crisis is that of the struggling artist”, however it could be argued that the crisis is that of loss. (Adams, 2015) Either way, he was thought up as “a musician who was actually very talented, and very good at what he did, but was not successful” by the brothers. (BBC Radio 5, 2014) Through his personality and dialogue it is clear “he is a prickly character”, however we still identify with him through his music and commitment. (BBC Radio 2, 2014) Another unusual trait that helps us identify with him is his optimism. (Kiang, 2016) He goes to Chicago to audition for Bud Grossman, he tells Jean to keep the window open incase the cat comes back and goes to pick up his mail even though there won’t be any. Along with this, “there is never a cathartic moment” where he finally expresses how he feels, which helps us as we don’t see him feeling sorry for himself. (BBC Radio 4, 2014) However, he does have a breaking point of anger seen through the line “Would that cane fit all the way up your ass or would a little stay sticking out?” Although it could simply be taken as a reaction to Roland’s constant talking, it can also be seen as a specific reaction to Roland’s comments about Mike, who tends to become our human link to Llewyn throughout, even though he isn’t there.
Music is another very important part of the story, specifically for character. The brothers tell us that music makes Llewyn “interesting at least” and “connects the audience to him.” (BBC Radio 2, 2014) The song ‘Fare Thee Well’ acts as a musical refrain, as it is written in the script throughout, and it reminds us that this character is missing his balance. The story itself is set in a musical time and place, with Llewyn being “based loosely on musician Dave Van Ronk” and other characters being “derived, or inspired by their real-life counterparts.”(King, 2014, p.96) However, it cannot be taken to be a historical film as it has been noted that the film is “filled with despair and loneliness” whereas the historically accurate musical scene was “filled with hope and engagement.”(Dreier and Flacks, 2014, p.99) The constant inclusion of songs in the script, the words of the songs being used as a narrative tool, the structure of the story having been compared to a folk song, and the portrayal of the songs on-screen, all relate to the idea that the film has “only one special effect: the music.” (Independent Ethos, 2016)
Along with the rejection of screenwriting conventions, there is also a “borderline un-American” rejection of the American Dream in the film. In terms of the narrative, Llewyn doesn’t “change” or “progress”. However, he also doesn’t succeed as an individual against the odds: the world that the brothers have created is almost “conspiring to keep him exactly where he is.”(Kiang, 2016) Seeing Llewyn as the “common man” (BBC Radio 4, 2014) also means that would could see the film as taking the form of Arthur Miller’s idea of ‘Tragedy and the Common Man’. (Miller, 1949) This forces us to examine the careful foreshadowing (e.g. “What are you doing?” written on the bathroom stall) in a different way than homecoming and the odyssey, as instead we see it as part of the road to destruction. In ‘Death of a Salesman’ this downfall is due to the pressures of society and capitalism, which we can also see with Llewyn’s encounter with Bud Grossman (“I don’t see a lot of money here.”)
In the script the brothers have have mapped out timings through beats and punctuation, and not much is changed in the transition to the film.
Where it is changed it is usually to make to story clearer, for example, the added line of Pappi saying “You and Mikey used to sing that song.” The removal of Troy’s line at the end of the scene where we find out Jean is pregnant increases the impact of this reveal and therefore helps the story the brothers are trying to tell. In terms of the dialogue, the brothers have used comeback zingers (e.g. “Well - I’m sorry, which? Out, or fuck you?”), push button dialogue (e.g. “Do you...plug yourself in somewhere?”), repetition (e.g. “I have to run the elevator.”), sarcasm (e.g. “He’s great. Good to see what I have to look forward to.”) and other techniques. Each character’s dialogue is only longer than two lines when necessary (e.g. with Jean or Roland) and every word is used effectively. The whole film, in a way, is a set-up itself, only to be payed off when we realise the end is the beginning and the significance of this. Where they break the rules, using past tense, including camera
directions, adverbs and so on, the story is never negatively impacted. Overall, it can be said that the Coen brothers have created a well crafted and self-reflective story with ‘Inside Llewyn Davis’, through both the script, and the film.
good at telling a really great story. It’s an easy day, you wrap by four o’clock in the afternoon.” (Film 2014, 2014)
The structure of the story itself is non-linear and cyclical; the ending is the first scene and the last scene but with significant changes. To see our protagonist being beat up and vulnerable at the beginning, allows for us to feel more connected with him. Without this, we may have too negative a view of him and therefore not want to follow him on this journey. The structure has also been compared to that of an actual folk song where “the first verse is followed by a series of verses in which unfortunate events occur, and at the conclusion, the tale comes back to the first verse again, though somewhat changed from its first iteration.” (King, 2014, p.94) This is true if we look to the final scene, where this time we Llewyn also sings ‘Fare Thee Well’, we see and hear Bob Dylan as Llewyn is being beaten, the whole scene is filmed differently and the end is extended. Each of these changes has it’s own purpose: ‘Fare Thee Well’ is written into the script and ties off this idea that his life is wronged by Mike is no longer being there, also adding a softer and more likeable edge to the character. Seeing and hearing Bob Dylan, although it is only implied both in the script and in the film, pulls on the irony that Llewyn is talented but isn’t successful and that this film is timed right before the rise of traditional folk music. The final scene is more enclosing but uses a wider range of shots, as there mystery isn’t needed like it is in the first scene; this time we know what is happening and why. The influence of crime writers is evident here with the structure of the plot, as a mystery is set up with the introductory scene and paid off at the end. (Levine, 2000, p.14) In terms of it’s cyclical nature, the brothers said the story is “about a character in a hamster wheel so it’s reflected in how we shape the story” (King, 2014, p.94), showing how heavily the focus is on this protagonist and his story.
Consequently, the story is an odyssey; “C’est une odyssée immobile” (“It is a motionless odyssey”) (Momcilovic, 2013, p.684) that is “episodic in structure.” (King, 2014, p.94) It is a journey that places Llewyn in many different places and situations; some different and some familiar. With this specific character, the story becomes an “anti-Odyssey retaining the form of homecoming only to empty it of any edifying content” (Dimock, 2015, p.327), as Llewyn doesn’t have a home and his quest becomes more of a “week in the life of a loser” than an epic. (Film 2014, 2014) This is where the episodic form comes in, as he is never in one place for long and has “no place to which he could go back, no place where Penelope could wait for him.” (Dimock, 2015, p.327) The exclusion of Penelope is also something to be noted, as perhaps Mike was his Penelope; he becomes a hanging presence in the movie that Llewyn seems to long.
In talking about the film as an odyssey, it is impossible to ignore the cat, Ulysses, and importance of the cats to the story. The brothers tell us that the meaning of Ulysses the cat is that they “wanted to make an odyssey where the hero doesn’t go anywhere.” (Benjamin, 2014) However, it is important to note that Ulysses is the one who “successfully completes the voyage out and the voyage back”, as it shows that it is possible for there to be a homecoming and therefore emphasises the fact that Llewyn doesn’t get one. (Dimock, 2015, p.327) We are also meant to “draw interesting parallels between the two journeying characters”: Llewyn and Ulysses. (The Film Fatale, 2014) One scene in particular that does this is when Llewyn is on the phone to Professor Gorfein’s secretary, and she mishears what he says as “Llewyn is... the cat.” Another is when Mitch says “There’s the cat!” when he opens the door to Llewyn and the cat. The cat as a journeyer is shown through his name being Ulysses, and we know that our protagonist is Llewyn, therefore he is also a journeyer. These two journeys could be considered as the odyssey and the anti-odyssey. The irony of the cat’s name is set-up throughout with lines such as “What’s your name, again?” and “I can't remember its name.” This is paid off with the reveal where even Llewyn himself notices the irony, one of the many self-reflective aspects of the film. The poster that Llewyn sees for ‘The Incredible Journey’ with the cat is also self-reflective and continues the idea of Ulysses’ odyssey. This is further emphasised in the film where we see from the cat’s point of view at times.
Llewyn also expresses how he feels bad about losing Ulysses, which is ironic as the cat is fine, but perhaps the one who actually needs saving is Llewyn himself. This brings us onto the idea brought up in “Save the Cat!: The Only Book on Screenwriting You'll Ever Need” by Blake Snyder of showing a character early on in the film saving a cat, as the audience will then side with them. Llewyn is constantly trying and failing to save the cat. (THE COEN BROTHERS: An Auteur Analysis, 2014) This is another example of the brothers subverting screenwriting conventions and engaging the audience with their protagonist, perhaps even more so because of this.
The anti-odyssey works because “Davis y est presque génial” (“Davis is almost brilliant” ) (Momcilovic, 2013, p.684). He is a man in crisis and Adams tells us that the “crisis is that of the struggling artist”, however it could be argued that the crisis is that of loss. (Adams, 2015) Either way, he was thought up as “a musician who was actually very talented, and very good at what he did, but was not successful” by the brothers. (BBC Radio 5, 2014) Through his personality and dialogue it is clear “he is a prickly character”, however we still identify with him through his music and commitment. (BBC Radio 2, 2014) Another unusual trait that helps us identify with him is his optimism. (Kiang, 2016) He goes to Chicago to audition for Bud Grossman, he tells Jean to keep the window open incase the cat comes back and goes to pick up his mail even though there won’t be any. Along with this, “there is never a cathartic moment” where he finally expresses how he feels, which helps us as we don’t see him feeling sorry for himself. (BBC Radio 4, 2014) However, he does have a breaking point of anger seen through the line “Would that cane fit all the way up your ass or would a little stay sticking out?” Although it could simply be taken as a reaction to Roland’s constant talking, it can also be seen as a specific reaction to Roland’s comments about Mike, who tends to become our human link to Llewyn throughout, even though he isn’t there.
Music is another very important part of the story, specifically for character. The brothers tell us that music makes Llewyn “interesting at least” and “connects the audience to him.” (BBC Radio 2, 2014) The song ‘Fare Thee Well’ acts as a musical refrain, as it is written in the script throughout, and it reminds us that this character is missing his balance. The story itself is set in a musical time and place, with Llewyn being “based loosely on musician Dave Van Ronk” and other characters being “derived, or inspired by their real-life counterparts.”(King, 2014, p.96) However, it cannot be taken to be a historical film as it has been noted that the film is “filled with despair and loneliness” whereas the historically accurate musical scene was “filled with hope and engagement.”(Dreier and Flacks, 2014, p.99) The constant inclusion of songs in the script, the words of the songs being used as a narrative tool, the structure of the story having been compared to a folk song, and the portrayal of the songs on-screen, all relate to the idea that the film has “only one special effect: the music.” (Independent Ethos, 2016)
Along with the rejection of screenwriting conventions, there is also a “borderline un-American” rejection of the American Dream in the film. In terms of the narrative, Llewyn doesn’t “change” or “progress”. However, he also doesn’t succeed as an individual against the odds: the world that the brothers have created is almost “conspiring to keep him exactly where he is.”(Kiang, 2016) Seeing Llewyn as the “common man” (BBC Radio 4, 2014) also means that would could see the film as taking the form of Arthur Miller’s idea of ‘Tragedy and the Common Man’. (Miller, 1949) This forces us to examine the careful foreshadowing (e.g. “What are you doing?” written on the bathroom stall) in a different way than homecoming and the odyssey, as instead we see it as part of the road to destruction. In ‘Death of a Salesman’ this downfall is due to the pressures of society and capitalism, which we can also see with Llewyn’s encounter with Bud Grossman (“I don’t see a lot of money here.”)
In the script the brothers have have mapped out timings through beats and punctuation, and not much is changed in the transition to the film.
Where it is changed it is usually to make to story clearer, for example, the added line of Pappi saying “You and Mikey used to sing that song.” The removal of Troy’s line at the end of the scene where we find out Jean is pregnant increases the impact of this reveal and therefore helps the story the brothers are trying to tell. In terms of the dialogue, the brothers have used comeback zingers (e.g. “Well - I’m sorry, which? Out, or fuck you?”), push button dialogue (e.g. “Do you...plug yourself in somewhere?”), repetition (e.g. “I have to run the elevator.”), sarcasm (e.g. “He’s great. Good to see what I have to look forward to.”) and other techniques. Each character’s dialogue is only longer than two lines when necessary (e.g. with Jean or Roland) and every word is used effectively. The whole film, in a way, is a set-up itself, only to be payed off when we realise the end is the beginning and the significance of this. Where they break the rules, using past tense, including camera
directions, adverbs and so on, the story is never negatively impacted. Overall, it can be said that the Coen brothers have created a well crafted and self-reflective story with ‘Inside Llewyn Davis’, through both the script, and the film.