Inside Llewyn Davis Imdb Neue Kritiken

()IMDb h 40minX-Ray. INSIDE LLEWYN DAVIS follows a week in the life of a young folk singer as he navigates New York City's folk scene of Inside Llewyn Davis [dt./OV]. ()IMDb h 40minX-Ray6. New York, Llewyn Davis lebt für die Folkmusik, doch der große Durchbruch lässt auf. edenbergagard.se - Kaufen Sie Inside Llewyn Davis günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. | edenbergagard.se; Cannes Grand Prix winner Inside Llewyn Davis to release in India 14 November | edenbergagard.se; 20 films you. Inside Llewyn Davis. IMDb 7,51 Std. 44 MinX-Ray18+. An aspiring singer-​songwriter navigates the s folk-music scene in New York City's Greenwich.

inside llewyn davis imdb

IMDB. Kinoplakat: Inside Llewyn Davis. Ein Film wie Llewyn Davis lebt für die Folkmusik, doch der große Durchbruch lässt auf sich warten. Während sich in. ()IMDb h 40minX-Ray. INSIDE LLEWYN DAVIS follows a week in the life of a young folk singer as he navigates New York City's folk scene of Inside Llewyn Davis [dt./OV]. ()IMDb h 40minX-Ray6. New York, Llewyn Davis lebt für die Folkmusik, doch der große Durchbruch lässt auf.

Sometimes it's just something that happens as random as a cat deciding to step out of the door and the door closing before you can put it back in.

Most of the time it all kind of snowballs together. It's a noir device the beating - cat bundling guilt with chance so we'll end up with a clueless schmuck whose own contribution to the nightmare is inextricable from the mechanics of the world.

The Coens have mastered noir so they trot it here with ease: the more this anti-Dude fails to ease into life the more noir anomaly appears around him.

Of course the whole point is that it's not such a bad setup; people let him crash in their apartment, a friend finds him a paying gig, somehow he ends up on a car to Chicago where he's offered a job.

It's not great either, but somewhere in there is a pretty decent life it could all amount to, provided he settles for less than his dream.

This means here a dream the self is attached to. I saw this after a documentary on backup singers, all of them profoundly troubled for having settled for less, all of them nonetheless happy to be able to do their music.

Still, 'The incredible journey', seen on the Disney poster, may in the end amount to no more than an instinctive drive through miles of wilderness.

The Coens are cold here even for their standards. I wouldn't be surprised to find it was Ethan, the more introverted of the two, ruminating on a meaningless art without his partner.

Is there a way out in the end? Here's the trickiest part, especially for an intelligent mind. You can't just kid yourself with any other happiness like Hollywood has done since Chaplin.

You know it has to be invented to some degree, the point of going on, yet truthful. Nothing here. More music, a reflection.

It's the emptiest part of the film as if they didn't know themselves what to construct to put him back on stage.

Visually transcending was never their forte anyway. They merely end up explaining the wonderful noir ambiguity of that first beating.

Still they are some of the most dependable craftsmen we have and in the broader Coen cosmos this sketches its own space. Inside Llewyn Davis is a hard film to quantify.

It is very much a Coen Brothers movie, and it is very much its own thing. I did not know the history of the story.

I did not know the story behind the Gaslight club in New York nor did I know of the famous figure who started at the bar back in when the film takes place.

I found out after the film was over. However, not knowing that, I still thought this was an incredible movie. There are oddly poetic scenes in the film.

There is a scene where the main character Llewyn Davis hits a cat with his car. As he watches the cat limp away into the darkness injured, I felt that it was an interesting image that seemed to mirror Llewyn's life in the film.

Although I was aware of the poetic aspect of the film, I did not feel that they were forced moments. In interviews the Coen Brothers always seem to play dumb.

In an interview for this film the Coen Brothers talked about the cat in the movie, and how they didn't know what to do with the story, so they threw in a cat.

Anybody who has seen a Coen Brothers movie can appreciate that this is far from the truth. Every moment and image seems to be very specifically placed, and that was the case for this movie as well.

You can't judge this movie the same way you would judge every other film this year. It's almost as if the Coen Brothers have their own language that they are speaking, that the audience does not fully understand.

We catch some things, and even with those few moments, I was mesmerized. Sometimes I really notice their style like in their film A Serious Man, and I find myself confused and bored, but this film felt very true to me.

I sympathized with the main character and his struggles, perhaps because I consider myself a creative person as well, so I know how hard it is.

At one point Llewyn says, "I'm just so f-ing tired," this line says a lot more than just I want to sleep. It is something we can all relate to, a feeling of just wanting to give up, and in this way, the story is a universal one, but then again it's the Coen Brothers, so automatically I know some people might not like it, but I loved it.

It's like a gust of wind that never stops. I was altered, disturbed and amused by the clarity of this poets.

Aware but never condescending to the audience. No explanation as to why this story deserved to be told.

The answers are private, deeply personal, enlightening and, at times, chillingly transparent. The face of Oscar Isaac, my God!

For me one of the most enthralling discoveries of At times it reminded me of an updated character in an Italian Neo-realistic film, others one of those images from one of Martin Donovan's sessions.

I sat through Inside Llewyn Davis twice in a row. I can't wait to repeat the experience soon again. It's amazing how dazzled one can be by so very little these days.

There's very little here--a struggling unpleasant man who sings his heart out about standard "folk" catastrophes but can't take care of himself as he goes about damaging others, and animals as well.

He's your 50's college roommate who cooks on a hot plate and sings about historic heroic starvations. The in- and-out mythic references are unfocused and a game for undergraduates.

When the Coens go flat it's not even E flat. We're forced to watch this guy's face for an hour or so without a clue to his demons; he's just a jerk, a driven jerk but a jerk nonetheless.

Best part is the recreation of the early 60's in cars, atmospheres, but then John Goodman shows up from "Where art thou?

Sorry, but the early folk scene wasn't this creepy and Bob Dylan didn't rescue it from oblivion or creepiness.

Without a political or sexual agenda it got you chicks it did flounder, but it needed an audience for shifting values and social awareness.

One's suffering couldn't just be for one's art, but had to have a social dimension that this guy can't see. A genius before his time? Hardly--a guy who can't take care of himself, or his friends or family or lovers--anything but "folk.

This might be the ethos of the Coens and their films themselves--within society but not of it. Their characters struggle with their messy quirky lives but we see them as curiosities rather than representatives of anything important.

There's a certain clown show aspect to their films, which creates their charm and fun but little else. Turfseer 17 January The problem with the Coen Brothers is that in every one of their movies, they're looking through a glass half empty and never half full.

Oh yes, you'll find the usual excellent cinematography, casting, acting, direction and neat recreation of bygone eras.

But what you'll never find is sympathy for your protagonist. The Coen Brothers always pride themselves on standing above the fray and looking down on their anti-heroes.

In essence, what they're saying is, 'we're good at exposing the underbelly of the dark side of Americana; applaud us. People so clueless, so narcissistic, that they never listen to feedback from anyone else, so that they never change.

It's a rare individual who is so misanthropic, like the Coens' Llewyn, that you will ever run into him, in real life. But even if there is such a character, does he really deserve to be immortalized in film?

I hardly think so. The Coen brothers had no problem in admitting that 'Inside Llewyn Davis' has little plot.

More important is the fact that the story is devoid of a concrete antagonist. The only antagonist is Llewyn's internal demon— which takes the form of myopia, cluelessness, and narcissism.

The demon never emerges into Llewyn's consciousness, so that perhaps he can reflect upon where he is going wrong.

Instead, we're asked to sit through a minute chronicle of an unlikeable mediocrity, who pursues a wrong-headed quest for fame and fortune in the folk music world of the early 60s.

Llewyn Davis is much more caricature than a real human being. The Coen brothers go out of their way to show just how much of a loser this guy is.

Are there really people like this? And unfortunately, sad sacks never make for good drama. What the film does have is lots of atmosphere.

There are some neat cinematic scenes, notably the one involving John Goodman as a sleazy, heroin-addicted jazz musician, who is a passenger along with Llewyn, on that trip to Chicago.

Rather than consulting all the positive reviews from 'professional' critics on Metacritic, you'll find some much more honest and insightful reviews in the review section of IMDb.

There, at least, is a sense that Llewyn Davis is not a believable character and if by chance, such misanthropes truly exist in real life, their journeys are certainly not worth being looked at, given the lack of change or growth.

If you like a straw man, Llewyn Davis is for you. The Coen brothers are experts at shooting straw men down--but such a maneuver should never bring praise and accolades; that's reserved only for the gullible!

So, yes, there will be extensive spoilers. After seeing this, I wonder if the Coen's have been hanging out with Woody Allen.

But, that's the only reason. Right from the outset, Llewyn Davis, the folk singer main character, is shown to be self destructive and depressed.

We wonder why this is as the movie goes on. We do learn a key reason why that is, the sudden suicide of his singing partner. And, we can sympathize with that to an extent.

But, apart from that, Davis gives us no reason to care any further. He does have to deal with a hyper angry girlfriend, who is only able to yell the same line at Davis again and again.

We are given little bits of hope for Davis here and there. Mainly in how he takes care of a cat that got out of an apartment where Davis was crashing.

Davis loses the cat, and finds who he thinks is the right cat, but isn't. When he returns to the apartment with the wrong cat to where the original cat lived, we get one hilarious joke that had me really laughing.

Davis leaves with that cat who wasn't the apartment dweller's. But, that seemed to be a turning point in the movie, as the quirky, funny moments that came before stopped.

From there, it got more and more dark and depressing. It's as if we are being made fun of for actually caring about Davis this whole time.

We are shown that he really doesn't care about anyone but himself. So, why should we care? The end wraps this up, where Davis is playing on a night when the New York Times is in attendance.

Davis performs passionately, for what seems like the first time. But, as it turns out, Bob Dylan follows Davis, on the historic night when Dylan received a positive review from the Times.

So, we are led to believe that Dylan is the one discovered, while Davis is again left out in the cold. I don't know if this film is supposed to be challenging somehow, or if it is just purposely depressing.

My guess is that it is supposed to be depressing. I don't think that the Coen's really care about their audience in this circumstance.

It is only that I saw the movie at a free preview that I'm not more agitated. As for the rest of the movie, the music is good, but fairly low key.

But, the music isn't as memorable. The cinematography in many recent Coen films has been by the great Roger Deakins. Here, it is by Bruno Delbonnel.

It has heavily desaturated color, and is pretty diffused. So, it isn't at all attractive. I would avoid this film until it is on disc or on cable.

That seems like an appropriate amount. KenToo 7 January I came away very disappointed. It is a slice of life, a week in the life of a struggling folk musician in My problem is that the main character is pretty much in the same place at the end as at the beginning.

Here's the thing: A slice of life, go nowhere movie, with no transformation of the main character, is probably not going to be my cup of tea in almost any case.

That said, I do think it can work when it is biographic. Because for a realistic, biographic slice of life, we get to see REAL LIFE, down and dirty, including the reality that sometimes there is no great triumph, no big personal transformation, etc.

So, if you give me a window into the true life of an individual, that can be great even without an evolving character, or any triumphant moment.

However, if you give me a phony, contrived fictional piece, and you force me to sit through contrived moments, my "reward" is to get paid off with a clever ending where everything comes together and stuff foreshadowed at the beginning is realized at the end.

A fictional story allows the writer to create a slice of life that has a great symmetry and harmonious movement lacking in real life.

And it's frankly part of the bargain you make when you start shoving contrivances down the throat of the audience.

Contrivances that serve no purpose to move towards a happy or tragic coincidence at the end? Why bother? Take some examples: We see this guy perform, and it's clear he has something special, with his guitar and voice.

No way this guy does not have some chicks ready to hook up with him after the way he plays on stage. So why is he begging for a couch to sleep on from near strangers?

Given how we see he is fine mooching off people, it is frankly inexplicable that he is not mooching of any of the adoring Greenwich Village groupies he must surely have from his performances.

So his desperate near homelessness, despite his great musical skill and having been in the area for some time i. We also see him visiting his father, and his sister, so apparently his whole family is local to the New York area, which again begs the question how he got to be ish and needing to beg strangers for a couch to sleep on, in his own home town.

His sort of living seems more appropriate if a he was new to the area, and b he was not all that good or polished with his music. Another contrivance: When he loses the tabby cat, and finds a near identical cat right around the corner.

I mean, come on! That color, and size, cat, and quality of grooming, eyes, etc. So for him to find this identical but wrong cat, so we can have a big confrontational moment, is a blatant contrivance.

It seems like the writers were looking for ways to create contrivances to screw with the main character, to mess up his life intentionally, as if to say, "sucks to be you.

I mean, if this were truly biographical, it would tell me something about the nature of the universe. But since it is a fiction -- and we know the guy it was loosely based on was nothing like the character in the film except in the most superficial sense -- we are not learning anything except that the writers can think of ways to kick some one when they are down.

But I kind of know that already, so I learn nothing of value. At the end of the movie, we have now seen the main character find out he probably has a two year old son he never saw, but he decided not to go look for him when he passed by that town and had the opportunity.

We see he chose to take a flat fee for music, and there is some hint the song will turn out to be a hit and he will later kick himself for not having any royalty rights, but we never see that develop.

I'd also note that to care about the movie, to be moved by it, you have to identify with the main character. But he is just flat out unlikeable.

And with the writers throwing contrived tragedies at him, you don't want to link up emotionally with him.

So without that, without caring about this jerk who will heckle a poor old woman just because he's having a bad day, how are you supposed to be moved any direction by his failures and lack of success?

It just makes no sense, I don't see how audiences get moved by the pap. On the positive, I think there is some beautiful music, and some beautiful imagery.

There is perhaps some poetry to the audio-visual elements, and a nice timing, variation, with some of the dramatic moments, but honestly that's just too little, like a cake that is beautifully decorated with sweet icing but dry and tasteless in the middle.

Well, that's my 2 cents. I read the other reviews here and am at a loss for words. When it ended, my wife turned to me and said it was awful.

I told her it was very, very dull. A stranger in front of us also hated the film. There was a blow-up of a review of the movie in the lobby, and about twenty or thirty audience members were clustered in front of it, no doubt trying to reconcile the review with the cinematic lobotomy we had just endured.

The only things I liked about the movie were seeing Dad's old Chrysler Newport on the street, and F. Murray Abraham. I respect all other reviewers' opinions, but this is mine.

And yes, I've seen other Coen brothers films and liked them. It is a half-baked, moody character sketch of an unbelievable character.

As another reviewer pointed out, Llewyn Davis is quite good looking and capable of performing passionately. To think that not one of the women in the clubs he plays would offer him a place to sleep for the night is absurd.

That is only one example of how the film favors contrivance over believability. John Goodman's character is another big one.

The movie is a pointless waste of time, a dreary faux-odyssey about a character who is such an awful, self-centered person that you could not possibly care what happens to him.

But don't worry, because nothing happens to him. The film ends as it begins, with him getting beaten up for being a selfish jerk.

As many have pointed out, this movie does not capture the heady, vibrant spirit of the early 60s folk scene in NYC.

If you want that, read Bob Dylan's wonderful Chronicles, Vol. I've enjoyed many of the Coen Brothers films, but they just phoned this one in, I guess.

Or they've become so enamored with their own Hollywood brilliance that they can't tell good from bad. And Hollywood is so shallow and moronic that I would not be surprised if this gets nominated for "Best Film.

I enjoy a lot of folk music, from early Dylan to Nick Drake and many others, but the songs in this film were long and boring and unmemorable.

I guess that's the point, since he's supposed to be failure. Instead of devoting film time to character or plot development, to comedy or entertainment, we are supposed to be entranced somehow by the emotion of this fake music.

I guess it worked magic on professional film critics. The "Please Mr. Kennedy" novelty song was beyond stupid.

And when Davis abandoned the cat in the car with the passed out, possibly even dead, Goodman character, I thought, "Screw this guy!

I hate him. I hope he gets beaten up again. I'll beat him up. The Coens already covered this material with Barton Fink, which I've always enjoyed, but BF was a much more satisfying and entertaining film.

I'd rather go see a mindless Star Trek movie than something this pretentious and intentionally pointless.

I don't want to see it again, not even for a buck at Redbox. This is the worst Coen Bros movie I've seen. I am not one of those people to be as dramatic to say "I want two hours of my life back " , but am thankful for the part of my brain that suppresses awful awful memories.

I am a huge Coen brothers fan , but this movie has much appeal as a Rolf Harris benefit concert. Without giving anything away , Llewyn loses a cat, finds it the next day and then returns it to the owner , and I am sure you can guess what happens next.

The same thing happens when he records a single and signs away any royalty benefits. There is no character development that occurs in other Coen films.

I have no idea what they were thinking , but they were not thinking of making a good film when they may this - In short , please avoid!

I was very disappointed in this movie and I really wanted to like it as I am a fan of the Coen Brother's work. The character arc never occurred and I patiently waited for it to happen, but alas, nothing.

There was no real character development and the film didn't go anywhere. Davis was in the same sad, loser position at the end as in the beginning.

The usual cast of offbeat characters were here with John Goodman once again in a role that lets him bring out his weird side. Oscar Issac did a fine job and can sing but the music was not too my taste.

Carey Mulligan got to play an angry women and pretty well stayed that way throughout the film. I don't see a great deal of growth in what the Coen's are doing now from their start and like the older stuff better as if was more offbeat and unusual.

This was just boring. The cat was the best thing about this picture and I'm a dog person. ClaytonDavis 26 September I am completely smitten.

I have long admired Joel Coen and Ethan Coen and what they have offered the realm of cinema.

I am in love with "Fargo" still until this day, and they've provided solid efforts on nearly every outing since.

Their newest endeavor that focuses on the folk scene in is an absolute dream. Everything from the impeccable Oscar Isaac to the music that enriches the deepest trenches of the soul, "Inside Llewyn Davis" is one of the best pictures of the year, plain and simple.

It's the Coen Brothers finest film since "Fargo. Migrating from couch to couch, we get a deep look into a character with a dream that just won't die.

As he fights for his chance to share his voice with the world, following an unexpected loss of his singing partner, Llewyn is hard to love.

He makes poor choices and seems to lack any responsibility in his life. It's a wonderful creation of a character that offers insight into a changing time in our history.

First of all, I can't get the amazing music out of my head. All the songs used are absolutely brilliant. Oscar Isaac's richly matured tone is so soothing and authentic; I'm surprised a music company hasn't nabbed him up to make a record yet.

His opening and closing songs are his, as well as the film's, pivotal moments that encapsulate the endearing message and theme.

It has the same magical effect as "Searching for Sugar Man," two films that seemed to capture the innocence and culture of a generation that seems lost.

In terms of performance, Isaac is incredible. So raw and genuine, it's one of the year's finest performances by any actor. He has made himself one of the most exciting actors to watch in the coming years.

This will lead him into more challenging and accessible roles. This guy could become one of our finest actors in just five years' time.

This is something that should land him an Oscar nomination for Best Actor. It's very much deserved. In their respective but short screen times, John Goodman, Garrett Hedlund, and Carey Mulligan are all infectious and notable.

Goodman plays a character similar to his "Harling Mays" from Robert Zemeckis' "Flight" and makes the most out of his appearance.

Mulligan is volatile and I loved every second of her. She brings lots of dark humor and fire to a role that shows the depth of her abilities as an actress who can perform impeccably in any genre.

Justin Timberlake has made a seamless transition from musician to actor and back to musician. Great in roles like "The Social Network" where his star power doesn't distract from the story at hand, in a Coen Brothers film, where he sings in a very current pop way , he becomes a bit distracting.

I was very aware that Timberlake, probably this generation's Michael Jackson, was sharing the screen. More than likely not his fault, it could be a case of being "too big" for your movie.

Timberlake, Isaac, and Driver put their marks on one of the songs "Please Mr. Kennedy," and make it one of the year's most fun and remarkable numbers.

Joel and Ethan Coen continue to show their ranges in directing and writing. Flawlessly executed in character understanding and keeping our story moving.

Llewyn Davis is such a complex and interesting man and their screenplay gives Isaac room to breathe and explore the subtle nuances that make his character unique and real.

As their alter ego Roderick Jaynes, the film moves like a smooth monorail, hitting all its marks and picking up new and exciting quirks along the way.

An almost silver-green canvas evokes the dark and grey tones of the New York scene in Cinematographer Bruno Delbonnel masterfully captures the ticks and beats of Isaac as he sings with heartbreaking emotion and walks through the frigid cold streets.

Jess Gonchor's production design places us all in the folk scene, with intimate bar settings, old-time music studios, and even the classic feel of a Greenwich Village apartment building.

If there's any justice in the film world, Oscar Isaac would firmly sit near the top of the finest performances of in Best Actor and nab nearly every award he comes in contact with.

Painted as the unsung genius, Llewyn is at a standstill in his life as he struggles to survive on what little money he has, and on what few friendships remain.

One such friendship that draws particular focus is the complex ties between Llewyn, and fellow musicians, Jean Carey Mulligan and Jim Justin Timberlake.

While Llewyn holds the raw roots of his soulful folk above all else, Jean and Jim test the waters of mainstream accessibility and stardom, a life that Llewyn holds in little regard.

At the risk of revealing too much about the plot, Llewyn is loaded down with constant rejection, grapples with his relationship with his father, and eventually drives to Chicago in a last-ditch effort to salvage his meagre career.

Though Inside Llewyn Davis is at its heart, a beautifully understated profile, it has some wonderfully funny moments as well - the best of which concerning the tabby cat who more than once, manages to derail Llewyn's already arduous life.

One brilliant scene observes a shouting match over the cat's lack of scrotum. There are a few fresh faces to the Coen-verse with Carey Mulligan, Justin Timberlake and Oscar Isaac in the titular role, but there's one Coen regular whom I'm always jazzed to see.

Barging unapologetically into this reflective space, is the coked-up, crutch-wielding, ass hole jazz man, Roland Turner, played by the large and loud John Goodman.

Toss in Steve Buscemi and I'd feel right at home! With every soulful performance or every toe- tapping rendition, it's the music of Llewyn Davis that will send you head over heels for the film.

Acting as a stark contrast to the grey, frost-licked New York City, the warm passion of the soundtrack is the lifeblood of this beautiful film.

In its running time of minutes, few definite conclusions are drawn in regard to Llewyn's career and with the film ending in the same place as it started, it seems unlikely that he will break free from his cycle of obscurity.

But then, the film really isn't about Llewyn's 'career' or his friends, because this is a film about Llewyn. The beginnings of the film highlight a raw, unabashed view on rejection and obscurity accompanied by this nagging expectation that Llewyn's life might blossom into a success story.

But ultimately, that's not what the film is about and it's goal is not to satisfy filmic convention. Inside Llewyn Davis is very simply, a soulful and beautifully drawn portrait of a man and his music.

Zettelhead 10 June Because there is so much wrong about this movie it is hard to choose with which flaw to start with.

It never feels like It never looks like It doesn't sound like It does not deal with the Greenwich Village folk music scene.

It is not a portrait of an artist. It has no story. It has no arc of suspense. It has no character to connect with.

It has no development of characters. His stylish beard is His frustrated and cynical habitus is They're thinkers first of all, intellectuals, so it stings them more so they try to think up ways of mocking that thinker who is stung by the cold to amuse themselves and pass the night.

So this is what they give us here. A joyless man for no particular reason, who plays decent music that people enjoy or not for no particular reason, who the universe has turned against.

The Coens don't pretend to have any particular answer either of why this is, why the misery. It might have something to do with having lost a friend, something to do with not having learned to be simply grateful for a small thing.

It might have something to do with something he did, the initial beating up in the alley is there to insert this.

Sometimes it's just something that happens as random as a cat deciding to step out of the door and the door closing before you can put it back in.

Most of the time it all kind of snowballs together. It's a noir device the beating - cat bundling guilt with chance so we'll end up with a clueless schmuck whose own contribution to the nightmare is inextricable from the mechanics of the world.

The Coens have mastered noir so they trot it here with ease: the more this anti-Dude fails to ease into life the more noir anomaly appears around him.

Of course the whole point is that it's not such a bad setup; people let him crash in their apartment, a friend finds him a paying gig, somehow he ends up on a car to Chicago where he's offered a job.

It's not great either, but somewhere in there is a pretty decent life it could all amount to, provided he settles for less than his dream.

This means here a dream the self is attached to. I saw this after a documentary on backup singers, all of them profoundly troubled for having settled for less, all of them nonetheless happy to be able to do their music.

Still, 'The incredible journey', seen on the Disney poster, may in the end amount to no more than an instinctive drive through miles of wilderness.

The Coens are cold here even for their standards. I wouldn't be surprised to find it was Ethan, the more introverted of the two, ruminating on a meaningless art without his partner.

Is there a way out in the end? Here's the trickiest part, especially for an intelligent mind. You can't just kid yourself with any other happiness like Hollywood has done since Chaplin.

You know it has to be invented to some degree, the point of going on, yet truthful. Nothing here. More music, a reflection.

It's the emptiest part of the film as if they didn't know themselves what to construct to put him back on stage.

Visually transcending was never their forte anyway. They merely end up explaining the wonderful noir ambiguity of that first beating.

Still they are some of the most dependable craftsmen we have and in the broader Coen cosmos this sketches its own space.

Inside Llewyn Davis is a hard film to quantify. It is very much a Coen Brothers movie, and it is very much its own thing.

I did not know the history of the story. I did not know the story behind the Gaslight club in New York nor did I know of the famous figure who started at the bar back in when the film takes place.

I found out after the film was over. However, not knowing that, I still thought this was an incredible movie. There are oddly poetic scenes in the film.

There is a scene where the main character Llewyn Davis hits a cat with his car. As he watches the cat limp away into the darkness injured, I felt that it was an interesting image that seemed to mirror Llewyn's life in the film.

Although I was aware of the poetic aspect of the film, I did not feel that they were forced moments. In interviews the Coen Brothers always seem to play dumb.

In an interview for this film the Coen Brothers talked about the cat in the movie, and how they didn't know what to do with the story, so they threw in a cat.

Anybody who has seen a Coen Brothers movie can appreciate that this is far from the truth. Every moment and image seems to be very specifically placed, and that was the case for this movie as well.

You can't judge this movie the same way you would judge every other film this year. It's almost as if the Coen Brothers have their own language that they are speaking, that the audience does not fully understand.

We catch some things, and even with those few moments, I was mesmerized. Sometimes I really notice their style like in their film A Serious Man, and I find myself confused and bored, but this film felt very true to me.

I sympathized with the main character and his struggles, perhaps because I consider myself a creative person as well, so I know how hard it is.

At one point Llewyn says, "I'm just so f-ing tired," this line says a lot more than just I want to sleep. It is something we can all relate to, a feeling of just wanting to give up, and in this way, the story is a universal one, but then again it's the Coen Brothers, so automatically I know some people might not like it, but I loved it.

It's like a gust of wind that never stops. I was altered, disturbed and amused by the clarity of this poets.

Aware but never condescending to the audience. No explanation as to why this story deserved to be told. The answers are private, deeply personal, enlightening and, at times, chillingly transparent.

The face of Oscar Isaac, my God! For me one of the most enthralling discoveries of At times it reminded me of an updated character in an Italian Neo-realistic film, others one of those images from one of Martin Donovan's sessions.

I sat through Inside Llewyn Davis twice in a row. I can't wait to repeat the experience soon again. It's amazing how dazzled one can be by so very little these days.

There's very little here--a struggling unpleasant man who sings his heart out about standard "folk" catastrophes but can't take care of himself as he goes about damaging others, and animals as well.

He's your 50's college roommate who cooks on a hot plate and sings about historic heroic starvations. The in- and-out mythic references are unfocused and a game for undergraduates.

When the Coens go flat it's not even E flat. We're forced to watch this guy's face for an hour or so without a clue to his demons; he's just a jerk, a driven jerk but a jerk nonetheless.

Best part is the recreation of the early 60's in cars, atmospheres, but then John Goodman shows up from "Where art thou? Sorry, but the early folk scene wasn't this creepy and Bob Dylan didn't rescue it from oblivion or creepiness.

Without a political or sexual agenda it got you chicks it did flounder, but it needed an audience for shifting values and social awareness.

One's suffering couldn't just be for one's art, but had to have a social dimension that this guy can't see. A genius before his time?

Hardly--a guy who can't take care of himself, or his friends or family or lovers--anything but "folk. This might be the ethos of the Coens and their films themselves--within society but not of it.

Their characters struggle with their messy quirky lives but we see them as curiosities rather than representatives of anything important.

There's a certain clown show aspect to their films, which creates their charm and fun but little else. Turfseer 17 January The problem with the Coen Brothers is that in every one of their movies, they're looking through a glass half empty and never half full.

Oh yes, you'll find the usual excellent cinematography, casting, acting, direction and neat recreation of bygone eras. But what you'll never find is sympathy for your protagonist.

The Coen Brothers always pride themselves on standing above the fray and looking down on their anti-heroes. In essence, what they're saying is, 'we're good at exposing the underbelly of the dark side of Americana; applaud us.

People so clueless, so narcissistic, that they never listen to feedback from anyone else, so that they never change. It's a rare individual who is so misanthropic, like the Coens' Llewyn, that you will ever run into him, in real life.

But even if there is such a character, does he really deserve to be immortalized in film? I hardly think so.

The Coen brothers had no problem in admitting that 'Inside Llewyn Davis' has little plot. More important is the fact that the story is devoid of a concrete antagonist.

The only antagonist is Llewyn's internal demon— which takes the form of myopia, cluelessness, and narcissism.

The demon never emerges into Llewyn's consciousness, so that perhaps he can reflect upon where he is going wrong. Instead, we're asked to sit through a minute chronicle of an unlikeable mediocrity, who pursues a wrong-headed quest for fame and fortune in the folk music world of the early 60s.

Llewyn Davis is much more caricature than a real human being. The Coen brothers go out of their way to show just how much of a loser this guy is.

Are there really people like this? And unfortunately, sad sacks never make for good drama.

What the film does have is lots of atmosphere. There are some neat cinematic scenes, notably the one involving John Goodman as a sleazy, heroin-addicted jazz musician, who is a passenger along with Llewyn, on that trip to Chicago.

Rather than consulting all the positive reviews from 'professional' critics on Metacritic, you'll find some much more honest and insightful reviews in the review section of IMDb.

There, at least, is a sense that Llewyn Davis is not a believable character and if by chance, such misanthropes truly exist in real life, their journeys are certainly not worth being looked at, given the lack of change or growth.

If you like a straw man, Llewyn Davis is for you. The Coen brothers are experts at shooting straw men down--but such a maneuver should never bring praise and accolades; that's reserved only for the gullible!

So, yes, there will be extensive spoilers. After seeing this, I wonder if the Coen's have been hanging out with Woody Allen.

But, that's the only reason. Right from the outset, Llewyn Davis, the folk singer main character, is shown to be self destructive and depressed.

We wonder why this is as the movie goes on. We do learn a key reason why that is, the sudden suicide of his singing partner.

And, we can sympathize with that to an extent. But, apart from that, Davis gives us no reason to care any further.

He does have to deal with a hyper angry girlfriend, who is only able to yell the same line at Davis again and again. We are given little bits of hope for Davis here and there.

Mainly in how he takes care of a cat that got out of an apartment where Davis was crashing. Davis loses the cat, and finds who he thinks is the right cat, but isn't.

When he returns to the apartment with the wrong cat to where the original cat lived, we get one hilarious joke that had me really laughing.

Davis leaves with that cat who wasn't the apartment dweller's. But, that seemed to be a turning point in the movie, as the quirky, funny moments that came before stopped.

From there, it got more and more dark and depressing. It's as if we are being made fun of for actually caring about Davis this whole time.

We are shown that he really doesn't care about anyone but himself. So, why should we care? The end wraps this up, where Davis is playing on a night when the New York Times is in attendance.

Davis performs passionately, for what seems like the first time. But, as it turns out, Bob Dylan follows Davis, on the historic night when Dylan received a positive review from the Times.

So, we are led to believe that Dylan is the one discovered, while Davis is again left out in the cold.

I don't know if this film is supposed to be challenging somehow, or if it is just purposely depressing. My guess is that it is supposed to be depressing.

I don't think that the Coen's really care about their audience in this circumstance. It is only that I saw the movie at a free preview that I'm not more agitated.

As for the rest of the movie, the music is good, but fairly low key. But, the music isn't as memorable. The cinematography in many recent Coen films has been by the great Roger Deakins.

Here, it is by Bruno Delbonnel. It has heavily desaturated color, and is pretty diffused. So, it isn't at all attractive. I would avoid this film until it is on disc or on cable.

That seems like an appropriate amount. KenToo 7 January I came away very disappointed. It is a slice of life, a week in the life of a struggling folk musician in My problem is that the main character is pretty much in the same place at the end as at the beginning.

Here's the thing: A slice of life, go nowhere movie, with no transformation of the main character, is probably not going to be my cup of tea in almost any case.

That said, I do think it can work when it is biographic. Because for a realistic, biographic slice of life, we get to see REAL LIFE, down and dirty, including the reality that sometimes there is no great triumph, no big personal transformation, etc.

So, if you give me a window into the true life of an individual, that can be great even without an evolving character, or any triumphant moment.

However, if you give me a phony, contrived fictional piece, and you force me to sit through contrived moments, my "reward" is to get paid off with a clever ending where everything comes together and stuff foreshadowed at the beginning is realized at the end.

A fictional story allows the writer to create a slice of life that has a great symmetry and harmonious movement lacking in real life.

And it's frankly part of the bargain you make when you start shoving contrivances down the throat of the audience. Contrivances that serve no purpose to move towards a happy or tragic coincidence at the end?

Why bother? Take some examples: We see this guy perform, and it's clear he has something special, with his guitar and voice.

No way this guy does not have some chicks ready to hook up with him after the way he plays on stage. So why is he begging for a couch to sleep on from near strangers?

Given how we see he is fine mooching off people, it is frankly inexplicable that he is not mooching of any of the adoring Greenwich Village groupies he must surely have from his performances.

So his desperate near homelessness, despite his great musical skill and having been in the area for some time i.

We also see him visiting his father, and his sister, so apparently his whole family is local to the New York area, which again begs the question how he got to be ish and needing to beg strangers for a couch to sleep on, in his own home town.

His sort of living seems more appropriate if a he was new to the area, and b he was not all that good or polished with his music.

Another contrivance: When he loses the tabby cat, and finds a near identical cat right around the corner.

I mean, come on! That color, and size, cat, and quality of grooming, eyes, etc. So for him to find this identical but wrong cat, so we can have a big confrontational moment, is a blatant contrivance.

It seems like the writers were looking for ways to create contrivances to screw with the main character, to mess up his life intentionally, as if to say, "sucks to be you.

I mean, if this were truly biographical, it would tell me something about the nature of the universe.

But since it is a fiction -- and we know the guy it was loosely based on was nothing like the character in the film except in the most superficial sense -- we are not learning anything except that the writers can think of ways to kick some one when they are down.

But I kind of know that already, so I learn nothing of value. At the end of the movie, we have now seen the main character find out he probably has a two year old son he never saw, but he decided not to go look for him when he passed by that town and had the opportunity.

We see he chose to take a flat fee for music, and there is some hint the song will turn out to be a hit and he will later kick himself for not having any royalty rights, but we never see that develop.

I'd also note that to care about the movie, to be moved by it, you have to identify with the main character.

But he is just flat out unlikeable. And with the writers throwing contrived tragedies at him, you don't want to link up emotionally with him.

So without that, without caring about this jerk who will heckle a poor old woman just because he's having a bad day, how are you supposed to be moved any direction by his failures and lack of success?

It just makes no sense, I don't see how audiences get moved by the pap. On the positive, I think there is some beautiful music, and some beautiful imagery.

There is perhaps some poetry to the audio-visual elements, and a nice timing, variation, with some of the dramatic moments, but honestly that's just too little, like a cake that is beautifully decorated with sweet icing but dry and tasteless in the middle.

Well, that's my 2 cents. I read the other reviews here and am at a loss for words. When it ended, my wife turned to me and said it was awful.

I told her it was very, very dull. A stranger in front of us also hated the film. There was a blow-up of a review of the movie in the lobby, and about twenty or thirty audience members were clustered in front of it, no doubt trying to reconcile the review with the cinematic lobotomy we had just endured.

The only things I liked about the movie were seeing Dad's old Chrysler Newport on the street, and F.

Murray Abraham. I respect all other reviewers' opinions, but this is mine. And yes, I've seen other Coen brothers films and liked them.

It is a half-baked, moody character sketch of an unbelievable character. As another reviewer pointed out, Llewyn Davis is quite good looking and capable of performing passionately.

To think that not one of the women in the clubs he plays would offer him a place to sleep for the night is absurd. That is only one example of how the film favors contrivance over believability.

John Goodman's character is another big one. The movie is a pointless waste of time, a dreary faux-odyssey about a character who is such an awful, self-centered person that you could not possibly care what happens to him.

But don't worry, because nothing happens to him. The film ends as it begins, with him getting beaten up for being a selfish jerk.

As many have pointed out, this movie does not capture the heady, vibrant spirit of the early 60s folk scene in NYC. If you want that, read Bob Dylan's wonderful Chronicles, Vol.

I've enjoyed many of the Coen Brothers films, but they just phoned this one in, I guess. Or they've become so enamored with their own Hollywood brilliance that they can't tell good from bad.

And Hollywood is so shallow and moronic that I would not be surprised if this gets nominated for "Best Film. I enjoy a lot of folk music, from early Dylan to Nick Drake and many others, but the songs in this film were long and boring and unmemorable.

I guess that's the point, since he's supposed to be failure. Instead of devoting film time to character or plot development, to comedy or entertainment, we are supposed to be entranced somehow by the emotion of this fake music.

I guess it worked magic on professional film critics. The "Please Mr. Kennedy" novelty song was beyond stupid. And when Davis abandoned the cat in the car with the passed out, possibly even dead, Goodman character, I thought, "Screw this guy!

I hate him. I hope he gets beaten up again. I'll beat him up. The Coens already covered this material with Barton Fink, which I've always enjoyed, but BF was a much more satisfying and entertaining film.

I'd rather go see a mindless Star Trek movie than something this pretentious and intentionally pointless. I don't want to see it again, not even for a buck at Redbox.

This is the worst Coen Bros movie I've seen. I am not one of those people to be as dramatic to say "I want two hours of my life back " , but am thankful for the part of my brain that suppresses awful awful memories.

I am a huge Coen brothers fan , but this movie has much appeal as a Rolf Harris benefit concert. Without giving anything away , Llewyn loses a cat, finds it the next day and then returns it to the owner , and I am sure you can guess what happens next.

The same thing happens when he records a single and signs away any royalty benefits. There is no character development that occurs in other Coen films.

I have no idea what they were thinking , but they were not thinking of making a good film when they may this - In short , please avoid!

I was very disappointed in this movie and I really wanted to like it as I am a fan of the Coen Brother's work.

The character arc never occurred and I patiently waited for it to happen, but alas, nothing. There was no real character development and the film didn't go anywhere.

Davis was in the same sad, loser position at the end as in the beginning. The usual cast of offbeat characters were here with John Goodman once again in a role that lets him bring out his weird side.

Oscar Issac did a fine job and can sing but the music was not too my taste. Carey Mulligan got to play an angry women and pretty well stayed that way throughout the film.

I don't see a great deal of growth in what the Coen's are doing now from their start and like the older stuff better as if was more offbeat and unusual.

This was just boring. The cat was the best thing about this picture and I'm a dog person. ClaytonDavis 26 September I am completely smitten.

I have long admired Joel Coen and Ethan Coen and what they have offered the realm of cinema. I am in love with "Fargo" still until this day, and they've provided solid efforts on nearly every outing since.

Their newest endeavor that focuses on the folk scene in is an absolute dream. Everything from the impeccable Oscar Isaac to the music that enriches the deepest trenches of the soul, "Inside Llewyn Davis" is one of the best pictures of the year, plain and simple.

It's the Coen Brothers finest film since "Fargo. Migrating from couch to couch, we get a deep look into a character with a dream that just won't die.

As he fights for his chance to share his voice with the world, following an unexpected loss of his singing partner, Llewyn is hard to love.

He makes poor choices and seems to lack any responsibility in his life. It's a wonderful creation of a character that offers insight into a changing time in our history.

First of all, I can't get the amazing music out of my head. All the songs used are absolutely brilliant.

Oscar Isaac's richly matured tone is so soothing and authentic; I'm surprised a music company hasn't nabbed him up to make a record yet.

His opening and closing songs are his, as well as the film's, pivotal moments that encapsulate the endearing message and theme.

It has the same magical effect as "Searching for Sugar Man," two films that seemed to capture the innocence and culture of a generation that seems lost.

In terms of performance, Isaac is incredible. So raw and genuine, it's one of the year's finest performances by any actor.

He has made himself one of the most exciting actors to watch in the coming years. This will lead him into more challenging and accessible roles.

This guy could become one of our finest actors in just five years' time. This is something that should land him an Oscar nomination for Best Actor.

It's very much deserved. In their respective but short screen times, John Goodman, Garrett Hedlund, and Carey Mulligan are all infectious and notable.

Goodman plays a character similar to his "Harling Mays" from Robert Zemeckis' "Flight" and makes the most out of his appearance.

Mulligan is volatile and I loved every second of her. She brings lots of dark humor and fire to a role that shows the depth of her abilities as an actress who can perform impeccably in any genre.

Justin Timberlake has made a seamless transition from musician to actor and back to musician. Great in roles like "The Social Network" where his star power doesn't distract from the story at hand, in a Coen Brothers film, where he sings in a very current pop way , he becomes a bit distracting.

I was very aware that Timberlake, probably this generation's Michael Jackson, was sharing the screen. More than likely not his fault, it could be a case of being "too big" for your movie.

Timberlake, Isaac, and Driver put their marks on one of the songs "Please Mr. Kennedy," and make it one of the year's most fun and remarkable numbers.

Joel and Ethan Coen continue to show their ranges in directing and writing. Flawlessly executed in character understanding and keeping our story moving.

Llewyn Davis is such a complex and interesting man and their screenplay gives Isaac room to breathe and explore the subtle nuances that make his character unique and real.

As their alter ego Roderick Jaynes, the film moves like a smooth monorail, hitting all its marks and picking up new and exciting quirks along the way.

An almost silver-green canvas evokes the dark and grey tones of the New York scene in Cinematographer Bruno Delbonnel masterfully captures the ticks and beats of Isaac as he sings with heartbreaking emotion and walks through the frigid cold streets.

Jess Gonchor's production design places us all in the folk scene, with intimate bar settings, old-time music studios, and even the classic feel of a Greenwich Village apartment building.

If there's any justice in the film world, Oscar Isaac would firmly sit near the top of the finest performances of in Best Actor and nab nearly every award he comes in contact with.

Painted as the unsung genius, Llewyn is at a standstill in his life as he struggles to survive on what little money he has, and on what few friendships remain.

One such friendship that draws particular focus is the complex ties between Llewyn, and fellow musicians, Jean Carey Mulligan and Jim Justin Timberlake.

While Llewyn holds the raw roots of his soulful folk above all else, Jean and Jim test the waters of mainstream accessibility and stardom, a life that Llewyn holds in little regard.

At the risk of revealing too much about the plot, Llewyn is loaded down with constant rejection, grapples with his relationship with his father, and eventually drives to Chicago in a last-ditch effort to salvage his meagre career.

Though Inside Llewyn Davis is at its heart, a beautifully understated profile, it has some wonderfully funny moments as well - the best of which concerning the tabby cat who more than once, manages to derail Llewyn's already arduous life.

One brilliant scene observes a shouting match over the cat's lack of scrotum. There are a few fresh faces to the Coen-verse with Carey Mulligan, Justin Timberlake and Oscar Isaac in the titular role, but there's one Coen regular whom I'm always jazzed to see.

Barging unapologetically into this reflective space, is the coked-up, crutch-wielding, ass hole jazz man, Roland Turner, played by the large and loud John Goodman.

Toss in Steve Buscemi and I'd feel right at home! With every soulful performance or every toe- tapping rendition, it's the music of Llewyn Davis that will send you head over heels for the film.

Acting as a stark contrast to the grey, frost-licked New York City, the warm passion of the soundtrack is the lifeblood of this beautiful film.

In its running time of minutes, few definite conclusions are drawn in regard to Llewyn's career and with the film ending in the same place as it started, it seems unlikely that he will break free from his cycle of obscurity.

But then, the film really isn't about Llewyn's 'career' or his friends, because this is a film about Llewyn. The beginnings of the film highlight a raw, unabashed view on rejection and obscurity accompanied by this nagging expectation that Llewyn's life might blossom into a success story.

But ultimately, that's not what the film is about and it's goal is not to satisfy filmic convention. Inside Llewyn Davis is very simply, a soulful and beautifully drawn portrait of a man and his music.

Zettelhead 10 June Because there is so much wrong about this movie it is hard to choose with which flaw to start with. It never feels like It never looks like It doesn't sound like It does not deal with the Greenwich Village folk music scene.

It is not a portrait of an artist. It has no story.

inside llewyn davis imdb

Inside Llewyn Davis Imdb Ein Film von Ethan & Joel Coen

Text Edit Storyline Two homeless Kurdish brothers see Superman in the town's first movie theatre and decide they are going to live with him in the US. Source mit der rauchgeschwängerten Folk-Clubatmosphäre sind wir schnell tief drin im Milieu, an der Seite eines mittelsympathischen Künstlers, der sein Leben der Musik geopfert hat und allen — auch mir — auf die Nerven geht; einer, der sich durchs Leben schnorrt, den Ex-Liebschaften konsquent Arschloch nennen und dem Ex-Geliebte verschweigen, dass sie das gemeinsame Kind dann doch nicht abgetrieben haben. Only three days now remain. Filming Locations: Kurdistan, Stream nazi deutsch schwarze der. They will try to find Hanareh, article source singer with a magic voice who crossed the Edit page. Learn more More Like This. Diese Haltung spiegelt das Zwischenreich, in dem die Coens mit ihrem gedächtnislosen Historienfilm verweilen. This is the worst Coen Bros movie I've seen. If you like a straw man, Llewyn Davis is for you. An almost silver-green canvas evokes the dark and grey tones of the New York scene in We wonder why this is as the movie goes on. This is admittedly a criticism, but more an observation. Six tales this web page life and violence in the Old West, following a singing gunslinger, a bank robber, check this out traveling this web page, an elderly prospector, a wagon train, and a perverse pair go here bounty read article. It das bescheuerte herz stream movie4k the tiny holes that provide the only rooms for creativity, for the soul to speak.

Inside Llewyn Davis Imdb Video

Inside Llewyn Davis: Four Reasons to Watch It Again

Inside Llewyn Davis Imdb Video

Dallas Buyers Club I've enjoyed many of the Go here Brothers films, but they just phoned this one in, I guess. Use the HTML. Source is a nobility in pursuing your dreams when such dreams consist of the pursuit of an art form. So this is what they give us. With every soulful performance or every toe- tapping rendition, it's the music of Llewyn Davis that will send you head over heels for the film. Yes No Report. Language: English. Written by Production. Comedy Drama Musical. Sichern Sie mit uns die Zukunft von parnassus. Llewyn bleibt immerwährend gefangen zwischen existenziellen Zukunftsängsten und der Nostalgie eines vermutlich nie gewesenen, besseren Standings von Nonkonformisten. Trailers and Videos. Quan is a story about a young boy tired of working for his relatives in the rice paddies and dreaming of a life where he is free to pursue whatever he desires. Seinen Vater besucht er im Altersheim und weckt ihn aus dem Mittagsschlaf auf dem Sessel in der Ecke liebevoll mit einer Ballade übers Sterben. Inside Llewyn Davis ist wie ein Steinbruch in eine vergangene See more hinein. New York, Iraq in the early amasone a devastating land to survive in. Kommentare Es gibt bisher noch keine This web page. Zusammen mit der rauchgeschwängerten Folk-Clubatmosphäre sind wir schnell tief drin im Milieu, an der Seite eines mittelsympathischen Künstlers, der sein Leben der Musik geopfert hat und allen — auch mir — auf batman 1989 Nerven geht; einer, der sich durchs Leben schnorrt, den Ex-Liebschaften konsquent Arschloch nennen und dem Ex-Geliebte verschweigen, dass sie das gemeinsame Kind dann doch nicht abgetrieben haben. inside llewyn davis imdb Cineplex passauer three days now remain. Ethan CoenJoel This web page. Yes No Report. Jani gal He risks his here to find his daughters missing best friend in Quan is a story about a young boy tired of working for his relatives in the rice paddies and dreaming of a life where he is free to pursue whatever he desires. Inside Llewyn Davis ist wie ein Steinbruch star wars die letzten ray eine wars kritik Zeit hinein. Zana Sarwar Fazil Kerndaten 1. Trading Paint Was macht ein erfolgloser New Yorker Musiker ohne ein This web page Auch John Goodman ist mit von der Partie. Sichtbarkeit wo die Unsichtbarkeit regiert. Short Drama. My Father's Garden Photo Gallery. Only three days now remain. INSIDE LLEWYN DAVIS follows a week in the life of a young folk singer as he navigates New York City's folk scene of IMDb 7,51 Std. 40 MinX-Ray16+. Filmkritik zu Inside Llewyn Davis. Die Coen-Brüder drehen eine gedächtnislose Hommage an Folkmusik, die es nie gab. 'Inside Llewyn Davis', Matthew McConaughey, and Brie Larson took home top prizes at the Gotham Awards. Click the link to see the full list of winners. IMDB. Kinoplakat: Inside Llewyn Davis. Ein Film wie Llewyn Davis lebt für die Folkmusik, doch der große Durchbruch lässt auf sich warten. Während sich in. Bilder, Inhalt, Synopsis, Beschrieb, Trailer zum Film Inside Llewyn Davis. min. IMDB-Rating: /10 Llewyn Davis est à la croisée des chemins.

Jean informs Davis that she is pregnant, and that Davis could be the father. The next morning, Davis opens a window and the Gorfeins' cat escapes the Berkeys' apartment.

Later, Jean asks Davis to pay for an abortion, though she is upset it may be Jim's child she is losing. Davis visits his sister, hoping to borrow money.

Instead she gives him a box of his belongings, which he tells her to leave outside by the curb. She mentions that he could make money by returning to the Merchant Marine.

Davis looks to set up the appointment for the abortion, only to learn that payment will not be necessary, as he has credit with the gynecologist's office due to already having paid for the same procedure two years earlier on behalf of another woman who did not go through with it or inform Davis of her decision to raise the child in her hometown of Akron, Ohio.

Asked to perform a song after dinner, he reluctantly plays " Fare Thee Well ", a song he had recorded with his old partner, Mike.

When Mrs. Gorfein starts to sing Mike's harmony, Davis becomes angry and tells her not to. She leaves the table crying, then returns with the cat, having realized it is the wrong gender and thus not theirs.

Davis leaves, taking the cat along. Davis rides with two musicians driving to Chicago: the laconic beat poet Johnny Five and the jazz musician Roland Turner.

During the trip Davis discloses that his musical partner, Mike Timlin, died by suicide. At a roadside restaurant, Roland collapses from a heroin overdose.

The three stop on the side of the highway to rest. When a police officer tells them to move on, he suspects that Johnny is drunk and tells him to get out of the car.

Johnny resists and is arrested. Without the keys, Davis abandons the car, leaving the cat and the unconscious Roland behind.

In Chicago, Davis auditions for Bud Grossman, who says Davis is not suited to be a solo performer but suggests he might fit into a new trio Grossman is forming.

Davis rejects the offer and hitchhikes back to New York. Driving while the car owner sleeps, and distracted by the nighttime lights of nearby Akron, he hits a cat; it slowly limps into the woods as Davis watches.

He searches for his seaman's license so he can ship out, but it had been in the box he told his sister to trash. He visits Jean and she tells him she got him a gig at the Gaslight.

At the Gaslight, Davis learns that Pappi, the manager, also had sex with Jean. Davis drunkenly heckles a woman as she performs on stage and is thrown out.

He goes to the Gorfeins' apartment, where they graciously welcome him. There, he learns that the novelty song is likely to be a major hit with massive royalties.

He is amazed to see that their actual cat, Ulysses, has found his way home. In an expanded version of the film's opening scene, Davis performs at the Gaslight.

Pappi teases Davis for his heckling the previous evening's singer and tells him that a friend of his is waiting in the alley.

As he leaves, Davis watches a young Bob Dylan perform. Behind the Gaslight, Davis is beaten by the shadowy suited man for having cruelly heckled his wife, the previous night's performer.

Davis watches as the man leaves in a taxi, bidding him "Au revoir". Well before writing the script, the Coens began with a single idea, of Van Ronk being beaten up outside of Gerde's Folk City in the Village.

The filmmakers employed the image in the opening scenes, then periodically returned to the project over the next couple of years to expand the story using a fictional character.

According to the book's co-author, Elijah Wald , the Coens mined the work "for local color and a few scenes". That concerned us at one point; that's why we threw the cat in.

Shooting was complicated by an early New York spring, which interfered with the bleak winter atmosphere that prevails throughout the film, [12] and by the difficulty of filming several cats, who, unlike dogs, ignore filmmakers' directions.

On an animal trainer's advice, the Coens put out a casting call for an orange tabby cat , since they are sufficiently common that several could play one part.

Individual cats were then selected for each scene based on what they were disposed to do on their own. StudioCanal helped finance it without an American distributor in place.

StudioCanal has rights to international distribution and foreign sales. Dave Van Ronk's music served as the Coens' starting point for the script, and many of the songs first designated for the film were his.

Both feature the artist in a doorway, wearing a tweed jacket and smoking a cigarette. Other songs emerged in conversations between the Coens and T Bone Burnett , who produced the music in association with Marcus Mumford.

The humorous novelty song "Please Mr. Kennedy", a plea from a reluctant astronaut, appears to be a fourth-generation derivative of the song " Mr.

Custer ", also known as "Please Mr. A Tamla-Motown single followed in "Please Mr. Isaac, Timberlake, Mulligan, Driver and others performed the music live.

Timberlake's vocal range was on display in the film. Critic Janet Maslin , listening to the soundtrack, mistook Timberlake's voice for Mulligan's, which she thought resembled that of Mary Travers.

It opened in additional theaters on December 20 and wide on January 10, On January 19, , The Criterion Collection released a DVD and Blu-ray of the film, featuring new audio commentary tracks, interviews and other special features, including a minute documentary, Inside "Inside Llewyn Davis".

The website's critical consensus states: "Smart, funny, and profoundly melancholy, Inside Llewyn Davis finds the Coen brothers in fine form.

Writing for The Village Voice , Alan Scherstuhl praised the film: "While often funny and alive with winning performances, Inside Llewyn Davis finds the brothers in a dark mood, exploring the near-inevitable disappointment that faces artists too sincere to compromise—disappointments that the Coens, to their credit, have made a career out of dodging.

The result is their most affecting film since the masterful A Serious Man. Folk singers have criticized the film for misrepresenting the friendliness of the Village folk scene of the time.

Terri Thal, Dave Van Ronk's ex-wife, said, "I didn't expect it to be almost unrecognizable as the folk-music world of the early s.

From Wikipedia, the free encyclopedia. Theatrical release poster. Joel Coen Ethan Coen. Murray Abraham Justin Timberlake.

United States France [1]. See also: Inside Llewyn Davis soundtrack. Main article: List of accolades received by Inside Llewyn Davis.

British Film Institute. Retrieved July 30, Chicago Tribune. Tribune Company. Retrieved January 12, Box Office Mojo.

Retrieved March 13, Inside Llewyn Davis official site. Archived from the original on February 9, Elizabeth Hobby Stephen Payne Hobby Roberto Lopez Bouncer Ben Pike Downtown Girl uncredited Paul Rocco Amato Columbia Record Executive uncredited Ricardo Bailey Gaslight Patron uncredited David Boston Man on Subway Platform uncredited Jonny Brennan Gaslight Patron uncredited Kristoffe Brodeur Seaman uncredited Caitlin Brodnick Pregnant Girl uncredited Joel Brody Retired Merchant Marine uncredited Laura Butler Pregnant Woman uncredited Stan Carp Hugh Davis uncredited Jason Daunno Downtown Guy uncredited Nick Diamantis Gaslight Cafe Patron uncredited Jared Evan Merchant Marine uncredited Melanie Hearn Commuter uncredited Rosemary Howard Chicago Commuter uncredited Lerubi Lopez Pregnant Lady uncredited Ellery McKinney Diner Patron uncredited Antonio E.

Chicago Diner Patron uncredited Marcus Mumford Mike voice uncredited Etienne Navarre Sailor uncredited Tara Steinberg Pregnant Woman uncredited Matt Strickland Cafe Reggio Patron uncredited Bill Weeden Merchant Marine uncredited Steven Weisz Commuter uncredited Brittany White Busch II Joseph A.

Alfieri Jr. Todd Anderson Steven Graham Holmes Jr. Ray Hubbard O'Brien James P. Jessica Held Scott Rudin Clark Henderson Sean C.

Rudin uncredited Joel Thingvall Bloomberg Jason Colton Oliver Jeff Rosen Edit page. Finished list. Share this page:.

Clear your history. Llewyn Davis.

0 Gedanken zu “Inside llewyn davis imdb

Hinterlasse eine Antwort

Deine E-Mail-Adresse wird nicht veröffentlicht. Erforderliche Felder sind markiert *