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Barton Fink


Price: CDN$ 11.98 & FREE Shipping on orders over CDN$ 25. Details
Only 8 left in stock (more on the way).
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21 new from CDN$ 5.63 19 used from CDN$ 2.97 3 collectible from CDN$ 176.00

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Barton Fink + Miller's Crossing + O Brother, Where Art Thou?
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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, Widescreen, NTSC
  • 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: Feb. 1 2005
  • Run Time: 116 minutes
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (90 customer reviews)
  • ASIN: B00008RH3J
  • Amazon Bestsellers Rank: #12,368 in DVD (See Top 100 in DVD)


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Customer Reviews

4.3 out of 5 stars
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Most helpful customer reviews

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
Psychology.
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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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Format: DVD
Easily the smartest of the Cohen Bros. films (and the darkest), Barton Fink employs an amazing economy of substance to weave a multiplicity of complex stories and meanings into an entertaining piece of very appealing cinematography.
To be found here are a number of different parables, all well-developed and supported by the meticulous detail in the film... everything from an allegory on the rise and course of Nazism during the 1940's, to a critique of communism constructed as warning about the secretly borgeious nature of the common man's intellectual, to an 8 1/2-esque statement about the dangerous and self-digesting face of the commercial-artistic milieu in the modern marketplace-studio. At play also are a number of riddles, including an imagined head that pits postmodernism against phenomenology, a biblical dance with Nebuchadnezzar for those who know their Bible, and a reversal of the narrative order through the presence of a hidden film-within-a-film.
Many mainstream critics focus on one particular interpretation of the film or fixate on one of these riddles and gloss the rest of the film's richness away as "surrealism" or "stylized darkness." Readers who read a number of these seemingly disparate reviews might be startled to find them all to be correct when held up to the film itself. A much more enjoyable way to explore the complexity and astonishing intelligence of the writing behind Barton Fink, however, is to watch it repeatedly.
Indeed, you'll notice something new, connect a few different dots in a different way, each time you see it. That the Cohen Bros. were not more richly rewarded for constructing such a remarkable "text" is sad indeed!
One of the best films of the twentieth century.
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