Eugene weekly., January 16, 2014, Page 23, Image 23

MOVIES
B Y M O L LY T E M P L E T O N
A FOLK ODYSSEY
With style and precision, the Coen brothers’ latest
captures the pre-Dylan folk scene of Greenwich Village
INSIDE LLEWYN DAVIS : Written, directed and edited by Joel and
Ethan Coen. Cinematography, Bruno Delbonnel. Music, T-Bone Burnett, Todd
Kasow and Marcus Mumford. Starring Oscar Isaac, Carey Mulligan, Justin
Timberlake, Jeanine Serralles and John Goodman. CBS Films, 2013. R. 104
minutes. 00001
O
f all the things to appreciate about the new Coen
brothers film, Inside Llewyn Davis, I’m hung up
on the color and the light. These days, it’s easy to
give your photos a retro feel; just open Instagram
and let the magic happen. It’s not so easy to make
your entire film evoke the cover of The Freewheelin’ Bob
Dylan, right down to the cars, the streets and the color of
Dylan’s jacket, which is echoed by the bag schlepped
around by Llewyn Davis (Oscar Isaac).
It’s early 1961, and Llewyn, sweet-faced and prickly, is
no Dylan. But he’s talented enough that the Coens let the
movie become a musical from time to time; songs are heard
in their entirety, in Isaac’s mournful, gentle voice — which
stands in direct contrast to his personality. Llewyn is a surly
couch-surfer who, early in the film, accidentally lets a
friend’s cat out. He spends much of the movie toting the
marmalade feline around, and it stands in for us, for a
different version of Llewyn, one whose curiosity is less
dulled by grief. It’s the cat’s face we see reflected in the
subway windows as Llewyn takes the train from his friends’
airy Upper West Side apartment to the narrow streets of
Greenwich Village. Llewyn isn’t paying any attention.
The Coens never let Inside Llewyn Davis be taken over
by just tone, by Llewyn’s grief — his former music partner
has, at some indeterminate point before the movie’s open,
committed suicide — by his anger, or by his disillusionment.
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But it is Llewyn’s movie, and no one else gets the slightest
hint of an interior life. His friend and sometimes-musical
collaborator Jim (Justin Timberlake) is the Nice Guy; a
guitar-toting soldier named Troy (Stark Sands) is the Even
Nicer Guy. Carey Mulligan, as Jean, the music and marriage
partner of Jim, is mostly angry — for very good reason (and
it’s great to see Mulligan get a role that doesn’t just require
her sweetness). But it’s hard to believe in the events that
have led Jean to be so angry; she exists mostly as another
foil to Llewyn, who’s already plenty good at foiling himself.
You can almost read Inside Llewyn Davis as a story
about the fickleness of fame, but the Coens are too sly, too
sophisticated, to let the movie skew too far in that overly
simple direction. Llewyn is talented, but not so much that
we’re certain he deserves success. On a Chicago road trip
— a minor odyssey inside a story that is itself a minor
odyssey — Llewyn meets with a club owner (a stoic, scary
F. Murray Abraham) who sums up Llewyn’s chances with
one dire sentence. Is it a commentary on the music biz, or
on Llewyn? Both, or neither. Llewyn isn’t self-aware
enough to realize he’s muddled by grief, but he’s too self-
aware to traipse blindly through life, pretending it’s all
open doors and opportunity.
This is a story in which nothing and everything happens,
and for all the time Llewyn spends on the move, the world
the Coens have created for him is oddly sealed off. The
perfect use of light, color and period detail calls to mind the
precise world-building of a Wes Anderson film, though
infinitely less twee. (Cinematographer Bruno Delbonnel
knows how to shoot a specific world; he also filmed
Amélie.) For those of us who weren’t there, the era seems so
perfectly recreated that nothing escapes the film; it’s like a
short story you fall into for a time, but when you come back
out of it, little of the tale stays with you. Can you fault a film
for being too precise? Maybe. For all the evocative images,
resonant songs, lovely performances and melancholy,
Llewyn Davis doesn’t really want to let you in. ■
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