Fink spends his days and nights frantically typing away on his typewriter like some kind of screenwriting maniac, with each draft inevitably destined for the bin.Īs with all the Coens' movies, Barton Fink is heavily stylized, both in production and in character. Initially skeptical about his new position, Fink relocates to LA, checking into the dingy Hotel Earle where he is neighbors with the 'everyman' insurance salesman, Charlie Meadows (in one of John Goodman's greatest roles). Beginning in his native New York, Fink is an apparently gifted and celebrated Broadway playwright whose promise leads him into a role with Capitol Pictures to become a screenwriter over on the West Coast, in Los Angeles. Related: The Coen Brothers: How the Directors Dissect American Cultureīarton Fink, unlike the aforementioned Woody Allen movie, doesn’t contain the generic platitudes of a directionless, fastidious writer who ventures out to a foreign city in hopes of a burst of creative flair (although LA may as well be foreign to Barton, in a perfect John Turturro performance). With a filmography featuring the likes of No Country for Old Men, The Big Lebowski, Fargo, and True Grit, it is a symbol of real commendation that Barton Fink is arguably the blue diamond in the Coen Brothers treasure chest. 30-years-later and that paltry figure of $6.1 million grossed at cinemas is not a defining statistic in Barton Fink’s now decorated reception as one of the greatest, most unique, and infuriatingly allegorical films ever made.
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