A lack of any underlying morality, an absence of absolutes of right and wrong, good and bad, give this film a unique feeling that it could go anywhere. Deep insight into the nature of the creative spirit, a plethora of fine performances bringing at first stereotypical characters to full life (despite the unreal, fable-like atmosphere created by the slimy, glistening colours reminiscent of the films of Jeunet&Caro.), and many moments of hilarity make this a perfect movie, one I would not hesitate in recommending to anyone despite the fairly high probability they will hate it. I am absolutely amazed at the fantastic taste of the imdb readership, having loved this film for years and always been told by people I'd told about it and persuaded to watch that it was no good, I finally find some other people out there who love it as much as me, posting (mostly) extremely positive comments.This is a fabulous film, dripping with a brooding, sticky atmosphere that draws you in to the clammy world of Barton Fink, sat in his hotel room listening to the creaking of the wallpaper as it dribbles moistly from the walls, searching for inspiration in his tacky painting and dusty typewriter.Perhaps it is a little dark for some tastes, but as black comedy goes this is the blackest and the most biting there is, the Hollywood system and New York theatrical snobbery lampooned with equal viciousness. I have decided after a slew of Coen Brothers films I currently have in my collection, that any project these guys are involved with deserve more than passing scrutiny. Excellent performances from John Turturo, John Goodman, Judy Davis, John Polito (often overlooked, but his scenes ALWAYS become his!!) and the inimitable Tony Shaloub. The trouble with Barton, however, is he does not have time for the common man because he has so romanticized their lot as well as his particular quest in speaking for them. After much cajoling to take the job from his agent, Barton arrives in Los Angeles determined to become the writer for the common man where he insists true stories live. John Goodman perfectly sums up everyone's frustration with Barton Fink when after a series of unfortunate occurrences, Barton asks him "Why me?" to which John's character answers "Because you don't LISTEN!" Set in 1930s Hollywood we follow the exploits of a one-hit wonder, Barton Fink, who has written a successful Broadway play and is summoned by the powers that be to Hollywood. He is so idealistic that he misses fantastic opportunities to become a writer for the ages because he wastes precious time proselytizing. He is so taken with the fact that he is a writer that he can't write. Barton Fink quite simply is a writer who cannot see the forest for the trees. RIP Michael, enjoy your unlimited Cuban cigars, comfy chairs, and endless movie marathon.I recently purchased "Barton Fink" along with "Miller's Crossinhg", another Coen Brothers gem. I'm so lucky I got to spend so much time with him, and we're all lucky we can continue to watch his work for the rest of time. Everyone that knows him knows how insane he was- in the best way. He was the coolest, most confident, talented guy, and the fact that he was my blood will always make me feel special. His stories always inspired me and made me fall in love with acting. It's hard to put into words how brilliant my uncle Michael was, and how influential he was to me. In his tribute to his uncle on Saturday, Sam Lerner wrote: He had over 180 movie and TV credits to his name, with his final role to date being that of another real-life studio executive, Louis B. Greenway in "Elf" and Senator Brickman in "X-Men: Days of Future Past," among numerous other films. Lerner gained further big-screen visibility in the 21st century with his roles as Mr.
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