Friday, February 12, 2010

A Serious Man - B+

Lawyer's original review is here.

Most have found Joel and Ethan Coen's most autobiographical film to date borderline nihilistic, providing zero answers concerning religion and life. But peppered throughout A Serious Man are several ideas on how to cope if you ever find yourself cursed or suffering a Job-like series of events. Larry Gopnik (Michael Stuhlbarg) is dealing with distant children, difficult neighbors, and a divorcing wife, but his socially inept brother (Richard Kind) is jealous of him. Count your blessings. Every member of Larry's family is unhappy for one reason or another but they all need him financially, but even more, they need him to be more active and involved. Many have felt the opening scene, a fake Jewish folktale, has nothing to do with the rest of the film. But the Jewish wife in that scene takes matter in her own hands. God helps those who help themselves . . .

The first rabbi encourages Larry to consider other perspectives. The second rabbi encourages him to help others. But the film builds up to Marshak, the elder rabbi. When Marshak finally speaks, he quotes Jefferson Airplane's "Somebody to Love": When the truth is found to be lies. And all hope within you dies. The rabbi then asks, "Then what?". The question is answered in the song: Don't you want somebody to love? Is that "somebody" God, your wife, your kids, yourself? You'll have to decide. But these are just ideas to help you get through this waking life. If you have everything figured out my your fourth or fifth decade, then what? What do you do with your remaining years?

The last scenes have undisclosed medical test results and a tornado bearing down on the town. The abrupt ending stresses the fact that in life, there's always another obstacle to overcome. It appears that Larry might reconcile with his wife. Her friend has received his comeuppance. Larry has bonded with his brother in a meaningful way (in an empty pool - or was it partially full?). And it appears Larry will get tenure. What's so bad? Why so serious? Maybe the easiest answer is in the title card that precedes the film: "Receive with simplicity everything that happens to you".

This is one of the Coens' strongest writing and directing achievements. The structure of the film is circular while at the same time classical with events happening in threes. 3 visits from a co-professor, 3 dreams, the son being chased 3 times. There is excellent cross-cutting of Larry and his son as well as with the car crashes. The Coens place important events in the background and show a great amount of scope in the cluttered offices of the rabbis and academics of 1967. The directing is very strong with subtle touches that add other levels of meaning. The way the son holds on to his yarmulke as he runs down the street. The American flag being torn apart by the wind. The transistor radio being held in close proximity to the Kiddush cup. An on and on - in nearly every scene. Anti-semitism creeps in as does modern society's effect on people and religion.

Roger Deakins's cinematography is impeccable, most impressive in the nighttime scenes. The unconventional cast might be unappealing but each delivers that unmistakable Coen dialogue perfectly. We're still a ways off from their peaks of Fargo and No Country for Old Men, but this is a step up from their last outing, Burn After Reading. B+

5 comments:

Lawyer said...

Your review provides some great insights into the film. But to me a film should work on some literal level rather than just counting the numbers of rabbis visited. This is a technical achievement but, to me, not something I like or enjoy.

Doctor said...

I enjoyed the humor a lot and yes, the Coens have always had that cold, smarter-than-thou feeling. I left off some problems with the film since I knew I was outnumbered going in and didn't want you and Rabbi to focus on the negatives.

The film is a little glib and quick to cut scenes at the easy joke. (Counterpoint is Tarantino maintaining interest and tension with ridiculously long scenes). ASM is first and foremost a comedy with an interest in religion and philosophy. But for me, it completely works as a comedy even though everyone irritating Larry simultaneously is indeed, more irritating than funny. (Similar to Punch-Drunk Love in this respect). Larry is hardly a classic hero - we want him to take charge and kick-ass, but he can't and this certainly hurts the film by having a protagonist so passive. The sebaceous cyst thing is gross and I'm not sure what it adds to the film other than showing nagging ailment that everyone (over 30 at least) has to live with.

We watch films a little differently with me favoring the technical (Zodiac, Adaptation) and you favoring the more emotional (21 Grams, Rachel Getting Married). The Coens are on my sensibility wavelength like no other filmmaker(s).

Priest said...

my thought on the cyst was that it was a small nod to the boils on job in job, since this is suppose to be their attempt to retell that story. likewise, as you may recall, the tornado at the end baring down on larry's son is a nod to the beginning of job, in which all job's children are crushed when a mighty wind strikes the building they're in. it's been a long time, but there are a variety of other old testament allusions, including an ironic one to david and bathsheba in larry (definitely NOT a king) looking out from his roof and seeing his neighbor sunbathing nude.

as to the film, my absolute favorite thing is larry's son's friend who just cusses every other word. this made me laugh every time.

Doctor said...

All those Job references are really interesting. The profane kid was hilarious and I also loved many of Stuhlbarg's deliveries and reactions. Both scenes with the failing student were priceless. I laughed out loud at the Torah lifter as well.

Doctor said...

I also found it interesting that Marshak changed a single word while quoting the song. He talked about "hope" dying while it's "joy" in the song.