Thirty years in which the Coens themselves have been endlessly, remorselessly successful: The morning after the premiere of their new film , they seem close to untouchable. Its aesthetic is drenched in melancholy; film stock so washed-out that it feels as it it's grieving. Inside Llewyn Davis may unfold in a more apparently glam location, a little further east, but it has the same DNA, the same doomy drive. But then there's something sad about everything. Joel, 59, long and lugubrious, sounds like a clarinet and acts like a sax. Some dicks are just not self-aware. Even subconsciously, the presence of the other seems to police the hymn sheet.
His tragedy is to keep trying, even as his hunger is eaten away. On trashing plans and turning hopes belly-up. I'm a dick for doing that. This, perhaps, is why the Coens needed to be pushing 60 before making it. He has talent but not genius. Why is it hard? Ethan bristles a bit. Inside Llewyn Davis , though, is another sad epic of dud luck. Yes, they liked the idea of a man who wasn't there, but that's not what they cared about. A Jenga tower of hard knocks that takes its hero a folkie in Greenwich Village , piles pain upon pain upon him, then hangs him out to dry. Its aesthetic is drenched in melancholy; film stock so washed-out that it feels as it it's grieving. Oscar Isaac as the titular folk singer. But I'm resigned to it. The reason the Coens suggest that some artists in that scene foundered while others became superstars is that they adhered rather than innovated. The morning after the premiere of their new film , they seem close to untouchable. They reply in sync, a united front. The same focus on psychological catastrophe, rather than violent assault. Yet in some ways Inside Llewyn Davis feels like nothing so much as a Coen brothers film — a movie one of them might make after the other had died, or, at least, they'd been irreparably separated. Cannes has always had a thing for woe-bros see also the Dardennes but right now the intensity of its crush makes you giddy. It romanticises neither the artist's vocation nor the realities of showbiz. Within, the Coens keep cooking up beautiful movies to undercut it. That film was their most biblical in terms of sheer misery it was based on the Book of Job , and their most autobiographical in terms of setting Jewish households in 60s Minnesota. There's a lot of anxiety associated with that. Some dicks are just not self-aware. No, things get a little easier.
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