![]() Davis has two scenes with the Gorfeins the first turns emotionally violent when he’s grudgingly singing at their home, as if for his supper, and Lillian joins in singing harmony (“Mike’s part”) Davis curses her out and she storms from the room. Several of Davis’s problems revolve around the middle-aged academic couple Mitch and Lillian Gorfein (Ethan Phillips and Robin Bartlett), friends who put him up in their comfortable Upper West Side apartment when he has no place else to crash. Those who want to keep the surprises for the viewing, be forewarned.ĭiscussion of the film seems to gravitate around three themes, and the strange part is that one of them is a pure plot point. I wrote here a few weeks ago about some of the movie’s personal dimensions to talk about its wider implications means to talk about it in detail, to talk about the end as well as the beginning, the twists and turns as well as the overall contours-which is to say, there’s no way to do so without recourse to spoilers. With their clear, clipped visual prose, Joel and Ethan Coen tell a good and juicy story, encapsulate on an intimate scale the sense of a grand historical transition, and elicit the story’s grander significance with an iridescent briskness that both gets to the core of the historical import and delivers its wisdom in modern terms to apply to modern life-and even to themselves. ![]() To recap: Llewyn Davis (played by Oscar Isaac), a proud but struggling young New York-based folk singer, lurches from mishap to mishap as he tries to relaunch his career as a solo act after the suicide of his musical partner, Mike Timlin. “Inside Llewyn Davis” is centered on the Greenwich Village folk-music scene in 1961, which has long been among the legendary moments in modern culture-which is to say that pretty much everyone agrees that something great and crucial happened there and then, those who lived through it keep revisiting it, and those who didn’t can’t get enough of the telling.
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