This new and totally absorbing film by the Coen brothers is replete with their customary stylistic idiosyncrasies, gentle yet farcical humour and off beat quirky characters through which they stunningly pull off an incisive and culturally accurate film. Based on elements of their own upbringing, set in a mid west Jewish American middle class suburb in the late sixties, the narrative of the film throws up a series of unpredictable yet believable circumstances, as it depicts a tsunami of familial and personal crises that engulf its main protagonist.
The unerring precision with which the Coen’s portray this passage of history, its claustrophobic banality and simmering unspoken emotional tension, induces in the viewer a state of suspended horror even nausea, at the grating awkwardness of everything it portrays.
The area where the film scores its greatest successes lies in the riveting portrayal of a huge variety of Jewish characters played, by an assumedly all Jewish cast. These actors vividly bring to life the tensions of the time through not expressing them. This is conveyed magnificently and simply through the acutely precise body language through which each actor imparts the alienation and mute isolation of the times as well as the characters from one another. As a subtle contrast to this stifling tone, the film refers at times obliquely and at others more directly to the countercultural seismic shifts occurring outside the perimeters of this enclosed world.
Ultimately bleak, the film traces the travails of Larry Gopnick, Physics Professor as he is sideswiped by a completely unexpected separation and possible divorce, blackmailed out of the family home and cringingly patronised by his wife’s intended new husband and bribed and blackmailed by a student potentially undermining an impending offer of tenure. Understandably he descends into a state of anguish, from which not one single acquaintance is able to assuage his deepening gloom. In desperation he seeks out two of three local Rabbis only to be offered glib platitudes or meaningless obscurantism.
The film within its own parameters is a triumph of convincing pathos, humour and whilst not nostalgic, an affectionate backward look at a very a specific time and place of a cultural rite of passage.
However stepping outside the Coen brothers’ milieu and seeing through, the artistic oeuvre that they inhabit, it is possible to discern certain cultural assumptions upon which the film is based. These presuppositions pervade the fabric of the film and render the overall message and content of the film a portrayal of a lost and nihilistically bereft humanity.
Whilst perfectly capturing the emptiness and isolation of modernity, the knowing almost sneering, poking of fun at human eccentricity, the nonexistence of any sense of underlying meaning or purpose in the lives of those portrayed, guarantee this movie carries the Coen’s typical filmic emotional undertow –their pervasive signature note of human futility and purposelessness. Whilst this film is not as much overt homage to the death drive as ‘No Country for Old Men’, ‘A Serious Man’ its ultimate longer term affect is to reduce art to smug irony.
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