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Barton Fink (Bilingual)

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Barton Fink (Bilingual) + Miller's Crossing (Bilingual) + Blood Simple (Director's Cut) [Import]
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Product Details

  • Actors: John Turturro, John Goodman, Judy Davis, Michael Lerner, John Mahoney
  • Directors: Ethan Coen, Joel Coen
  • Writers: Ethan Coen, Joel Coen
  • Producers: Ethan Coen, Ben Barenholtz, Bill Durkin, Graham Place
  • Format: Anamorphic, Closed-captioned, Color, DVD-Video, NTSC, Subtitled, Widescreen
  • Language: English, Spanish
  • Subtitles: English, Spanish
  • Dubbed: French
  • Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Aspect Ratio: 1.66:1
  • Number of discs: 1
  • MPAA Rating: R
  • Studio: 20th Century Fox Home Entertainment
  • Release Date: May 20 2003
  • Run Time: 116 minutes
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (93 customer reviews)
  • ASIN: B00008RH3J
  • Amazon Bestsellers Rank: #7,883 in DVD (See Top 100 in DVD)

Product Description

Product Description

Set in Hollywood during the 1940's, "Barton Fink" is a comic satire about creative egos, flashy moguls, a travelling salesman and a nasty case of writer's block. Barton Fink (John Turturro) is a New York playwright lured to Hollywood to work as a screenwriter. It doesn't take long for Barton's life to erupt in complete chaos. His studio boss orders the serious-minded Barton to write a low budget wrestling movie. Deeply disappointed, Barton returns to his seedy hotel, types one sentence and then¿ nothing. To make matters worse, he is continually interrupted by Charlie (John Goodman), a chatty travelling insurance salesman who lives next door. Eventually they become friends and Charlie tries to help Barton by teaching him the finer points of wrestling. As the clock ticks away and the temperature climbs, Barton becomes more desperate as his life spins out of control.


A darkly comic ride, this intense and original 1991 offering from the Coen brothers (Fargo, Blood Simple) gleefully attacks the Hollywood system and those who seek to sell out to it, portraying the writer's suffering as a loony vision of hell. John Turturro (Miller's Crossing, Jungle Fever) plays the title character, a pretentious left-wing writer from New York City who is brought to 1930s Hollywood to write a script for a wrestling movie for palooka actor Wallace Beery. Fink thinks the job is beneath him, but his desire for acceptance gets the better of him, and he suddenly finds himself holed up in a fleabag hotel in Los Angeles, where he is almost immediately afflicted with writer's block. Various distractions begin to enter his life, first in the form of a famous southern writer (John Mahoney) whom Fink idolizes, and then his neighbor in the hotel, a seemingly amiable salesman played by John Goodman (Sea of Love, Raising Arizona). The writer turns out to be a self-loathing drunk whose secretary (Judy Davis) is the one actually doing the writing. And the neighbor, the working-class hero who Fink made his reputation writing about, may have a horrifying secret of his own. Equal parts social commentary and hilarious farce, and winner of the Best Picture, Actor, and Director prizes at the Cannes Film Festival, Barton Fink is a visionary and original comic masterpiece not to be missed. --Robert Lane --This text refers to an out of print or unavailable edition of this title.

Customer Reviews

4.3 out of 5 stars

Most helpful customer reviews

Format: DVD
This film is dare I say 'film noir in color, and beyond'. Definitely requires a few viewings to appreciate. And even then it still won't be fully understood. Yet, all the actors are so mesmerizingly believable in their roles, beautiful sets and photography, and such minute details and subtle metaphors, it's near impossible not to see the whole movie through. Again, and again, and again. And again. As 'fun' as Millers Crossing' is, Barton Fink is the polar opposite. Menacing, brooding, surreal, mysterious, and intense as all get out. And then there's Miller's Crossing. Kooky, spirited, over the top, and dare I say - predictable. It's as if the two movies picked up the wrong overcoats at the counter on their way out. Yet, the viewer wouldn't want either film to realize that. One has to hand it to the Coen Bros. Meticulous, mischievous, misanthropic, mirthful, and miraculous! Pick any one of their films, and all those terms are in them, and then some. Maybe not always in that consecutive order, but believe me - they're there! And with Barton Fink, each of those terms have become capitalized and italicized to belligerently hammer the points home. But kises you on the forehead at the end to make you feel all better. With a lingering gob of spit that's disturbing, yet comforting.
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Format: DVD
This is a movie not to be missed.Its subtelty, plus the acting of John Goodman and John Terterro, marks it out as one of the Coen Brothers best.Terterro is an idealistic 'one hit' playwrite who attracts the attentiom of an Hollywood Mogul and is signed-up to write a film.It is made plain to him that he is not required to write an artistic script but one about wrestling: "Big men in tights" as its put to him.He takes a room in an hotel and from there the drama unfolds in the most unexpected ways. Both actors are brilliant in their roles but John Goodman (then in his prime) plays a part unequalled in its authenticity as someone truly insane, being both the gentle easy going giant and a brutal killer as and when the mood takes him.The whole film is a masterpiece with the last scene where Goodman enacts 'the life of the mind' in its most savage form, and then reverting to the 'gentle giant,being particularly moving.This is a film destined to become 'cult'and in the years to come collectible.It is not a film which reveals its full subtelty at first viewing but those who watch it more than once will be well repayed by increased insight into its complexity and drama. A must buy for the discerning.A.Murphy. Postgraduate
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By A Customer on July 18 2004
Format: DVD
Barton Fink is a nightmarish film and a black comedy, much of which takes place in a lifelike hotel sparsely populated by grotesque characters. Barton is himself a nervous, self-absorbed nerd, and fits right in. His roomate, Charly, is an overweight salesman with an ear infection who has some kind of bizarre telepathic connection with the hotel. Their conversations are sublimely entertaining, and undeniably the work of the Coen brothers.
Even if the somewhat self-absorbed plotline of a playwright unable to write a wrestling screenplay due to personal eccentricities doesn't interest you, the film is visually fascinating from beginning to end. Stylistically, it resembles a mutation of David Lynch and Stanley Kubrick, which in itself should promise a good, eerie, challenging two hours of surrealism and allegory. Indeed, it's full of clever visual clues that will spark arguments over what it all means. Should be of interest to the artsy-fartsy crowd, conventional types shoudn't waste their time.
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Format: DVD
Okay, "Barton Fink" is a satire on the old studio system. It may also well be a symbolic depiction of the Holocaust. The Book of Daniel certainly features strongly in the mix. And it's an attack on the foibles of the twitchy intellectual, particularly the self-righteous left-wing "voice of the people" type. But, just to keep the pot boiling, let me point out that the film's narrative framework is adapted from the legend of Faust. In large part, Christopher Marlowe's "Doctor Faustus".
The Faust figure is Barton, needless to say. Charley/Karl is Mephistopheles. And Audrey is Gretchen/Marguerite, the admired female figure who turns out to be a little less than what was desired. Barton is frankly devoted to the life of the mind, obsessed with creativity and the longing to learn the secret of life and bring it home to the Little Man, the Common Man. Charley/Mesphisto offers his assistance (by teaching him wrestling--this is a Coen brothers film, remember). He fails, but at last Barton does sell his soul--to Audrey, the no longer idealized "eternal female". And as the deal is sealed with a bout of sex, the camera glides to the bathroom sink, where it slides down (I stole this part from John Simon) straight to Hell, which is ruled not by friendly, easygoing Charley, but by Madman Mundt (the real Karl Mundt, by the way, was a notorious right-wing congressman of the period, for what that's worth).
So okay, it's not a one-to-one correspondence. But neither was "O Brother, Where Art Thou?" perfectly congruent with the Odyssey. (e.g. which one was Homer--the old black guy with the beard or the country DJ?) The Coens use these sources not as road-maps, but as takeoff points, which is as it should be.
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