posted on: October 19, 2020
Meilleurs films Comédie dramatique en 1991. de "[61] Regarding fantasies and dream sequences, he said:.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 40px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}, It is correct to say that we wanted the spectator to share in the interior life of Barton Fink as well as his point of view. Coen and Coen, p. 124. For example, it would have been incongruous for Barton Fink to wake up at the end of the film and for us to suggest thereby that he actually inhabited a reality greater than what is depicted in the film. On est dans un désert »), le son distinctif d'un moustique peut être clairement entendu lorsque Barton observe une nuée d'insectes flottant dans sa chambre d'hôtel. And the king, Nebuchadnezzar, answered and said to the Chaldeans, I recall not my dream; if ye will not make known unto me my dream, and its interpretation, ye shall be cut in pieces, and of your tents shall be made a dunghill, Ethan Coen ne sera crédité comme réalisateur qu'à partir de, Comme de nombreux journalistes et critiques l'ont fait remarquer, Joel et Ethan finissent parfois les phrases l'un de l'autre. L'esthétique de l'Hotel Earle et l'atmosphère de plusieurs scènes reflètent également l'influence du cinéma pré-Seconde Guerre mondiale. Their work emphasized social issues and employed Stanislavski's system of acting to recreate human experience as truthfully as possible. [65], Another symbolic sound is the hum of a mosquito. À quel point les films sont-ils réels au juste ? Le script ayant servi d'exutoire, les Coen le mettent de côté : « Barton Fink nous a en quelque sorte lavé le cerveau et nous avons pu retourner à Miller's Crossing et le boucler. L'auteur s'installe dans un grand hôtel suranné quasi désert et bien étrange. Hébété, Barton erre sur la plage, le colis à la main. [50], Barton Fink uses several stylistic conventions to accentuate the story's mood and give visual emphasis to particular themes. L'influence la plus importante est sans doute celle du réalisateur franco-polonais Roman Polanski, trois de ses films ayant considérablement marqué sa conception : Répulsion (Repulsion, 1965), Cul-de-Sac (1966) et Le Locataire (The Tenant, 1976). [29], The homoerotic overtones of Barton's relationship with Charlie are not unintentional. The Washington Post reviewer Desson Howe said that despite its emotional impact, the final scene "feels more like a punchline for punchline's sake, a trumped-up coda". L'amalgame entre structures bureaucratiques et personnages irrationnels rappellent les romans de Franz Kafka mais les frères Coen ont souligné que la ressemblance était involontaire. "They paint Fink as an ineffectual and impotent left-wing intellectual, who sells out while telling himself he is doing the right thing, who thinks he understands the 'common man' but does not understand that, for many common men, fascism had a seductive appeal".
En 2016, le scénariste Charlie Kaufman répond à la fameuse question « Quel film emmèneriez-vous sur une île déserte ? [44] Actor Turturro referred to it as a coming of age story,[43] while literature professor and film analyst R. Barton Palmer calls it a Künstlerroman, highlighting the importance of the main character's evolution as a writer.
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