Barton Fink - Barton Fink

Buni chalkashtirib yubormaslik kerak Bart Fink.

Barton Fink
BartonFink.jpg
Teatrlashtirilgan plakat
RejissorJoel Coen
Tomonidan ishlab chiqarilganEthan Coen
Tomonidan yozilganEthan Coen
Joel Coen
Bosh rollarda
Musiqa muallifiKarter Burvell
KinematografiyaRojer Deakins
TahrirlanganRoderik Jeyns
Ishlab chiqarish
kompaniya
Doira filmlari
Ishchi filmlar
Tarqatgan20th Century Fox (BIZ)
Universal rasmlar (Buyuk Britaniya)
Ishlab chiqarilish sanasi
  • 1991 yil 18-may (1991-05-18) (Kann )
  • 1991 yil 21 avgust (1991-08-21)
Ish vaqti
117 daqiqa[1]
MamlakatQo'shma Shtatlar
TilIngliz tili
Byudjet9 million dollar
Teatr kassasi6,2 million dollar

Barton Fink 1991 yilgi amerikalik davr qora komediya psixologik triller tomonidan yozilgan, ishlab chiqarilgan, tahrir qilingan va boshqarilgan film Coen birodarlar. 1941 yilda o'rnatilgan, u yulduzlar Jon Turturro yosh Nyu-York shahri sifatida bosh rolda dramaturg Gollivuddagi kinostudiya uchun stsenariy yozish uchun yollangan va Jon Gudman Charlie Meadows singari, ishdan chiqqan "Earl" mehmonxonasida qo'shni uyda yashaydigan sug'urta sotuvchisi.

Kenslar ssenariysini yozdilar Barton Fink yozish paytida qiyinchiliklarga duch kelganda uch hafta ichida Millerning o'tish joyi. Ko'p o'tmay ular avvalgisini suratga olishga kirishdilar Millerning o'tish joyi tugadi. Filmda avvalgi bir necha rejissyorlarning asarlari, xususan Roman Polanski "s Qaytish (1965) va Ijarachi (1976).

Barton Fink premerasi bo'lib o'tdi Kann kinofestivali 1991 yil may oyida. Noyob supurib, u g'alaba qozondi Palma d'Or shuningdek mukofotlar Eng yaxshi rejissyor va Eng yaxshi aktyor (Turturro). Garchi film a kassa bombasi, faqat 9 million dollarlik byudjetga qarshi 6 million dollar ishlab topdi, u ijobiy sharhlarni oldi va uchta nomzodga nomzod bo'ldi Oskar mukofotlari. Taniqli mavzular Barton Fink yozuv jarayonini o'z ichiga oladi; ijodiy sohalarda qullik va mehnat sharoitlari; orasidagi yuzaki farqlar yuqori madaniyat va past madaniyat; va ziyolilarning "oddiy odam" bilan munosabatlari.

Filmning xilma-xil elementlari uni janrlarni tasniflashdagi sa'y-harakatlarni rad etishga olib keldi va bu asar turli xil deb nomlandi film noir, a dahshatli film, a Künstlerroman va a do'st filmi. Unda turli xil adabiy tashbehlar va diniy tushunchalar, shuningdek, ko'plab hayotiy odamlar va voqealarga havolalar mavjud - ayniqsa, yozuvchilar Klifford Odets va Uilyam Folkner, ulardan Barton Fink va V. P. Mayxuning xarakterlari ko'pincha xayoliy tasvirlar sifatida qaraladi. Film bayonotidagi bir nechta xususiyatlar, xususan, plyajdagi ayolning obrazida takrorlanib turishi ko'p izohlarni keltirib chiqardi, chunki Kenslar qasddan ramziy elementlarni tan olib, filmdagi biron bir xabarni etkazishga urinishni rad etishdi.

Uchastka

1941 yilda, kelajakda Broadway dramaturg Barton Fink (Turturro) Gollivuddagi Capitol Pictures kompaniyasidan haftasiga ming dollar evaziga ssenariylar yozish bo'yicha shartnomani qabul qiladi. Los Anjelesga ko'chib o'tgach, Fink arzon Hotel Earle mehmonxonasiga joylashdi. Uning xonasining yagona bezagi - sohil bo'yida, quyoshni to'sish uchun qo'l ko'tarilgan ayolning kichik rasmidir. Finkni kurash bo'yicha filmga yangi boshlig'i Jek Lipnik (Lerner) tayinlaydi, ammo u notanish mavzu uchun yozishda qiynaladi. Uni qo'shni xonadan keladigan tovushlar chalg'itdi va shikoyat qilish uchun old stolga telefon qiladi. Uning qo'shnisi Charli Meadows (Goodman) shovqin manbai bo'lib, kechirim so'rash uchun Finkga tashrif buyuradi. Ular suhbatlashar ekan, Fink "oddiy odam" ga bo'lgan muhabbatini e'lon qiladi va Meadows uning sug'urta sotuvchisi bo'lgan hayotini tasvirlaydi.

Birodarlar Koen aktyor Jon Gudman uchun Charli Meadows rolini qisman "u tomoshabin uchun loyihalashtirgan iliq va do'stona obraz" tufayli yozgan.[2]

Hali ham ssenariysining birinchi satrlaridan tashqariga chiqa olmagan Fink prodyuser Ben Geyslerdan (Shalhoub) maslahat so'raydi. G'azablangan g'ayritabiiy Geyzler uni tushlikka olib boradi va yordam uchun boshqa yozuvchiga murojaat qilishni buyuradi. Fink tasodifan roman yozuvchisi V.P. Mayhew (Mahoney) hammomda. Ular film yozishni qisqacha muhokama qilishadi va shu kuni ikkinchi uchrashuvni tashkil qilishadi. Keyinchalik Fink Mayxuning kotibi Audrey Teylordan (Devis) Mayxyu azob chekayotganini bilib oladi alkogolizm va Teylor arvoh yozish uning ssenariylarining aksariyati. Filmni muhokama qilish uchun Lipnik bilan uchrashuvidan bir kun oldin Fink Teylorga telefon qiladi va undan yordam so'raydi. Teylor unga Earlda tashrif buyuradi va ular jinsiy aloqada bo'lishadi. Ertasi kuni ertalab Fink Teylorning zo'ravonlik bilan o'ldirilganligini bilib uyg'onadi. U dahshatga tushib, Meadowsni chaqiradi va yordam so'raydi. Yaylovlar qaytarib olinadi, ammo jasadni yo'q qiladi va politsiyaga murojaat qilmaslik uchun Finkga buyruq beradi.

Fink g'ayritabiiy tarzda qo'llab-quvvatlaydigan Lipnik bilan uchrashuv o'tkazgandan so'ng, Meadows Finkga Nyu-Yorkka bir necha kun borishini e'lon qiladi va undan tashlab ketayotgan paketini kuzatishni so'raydi. Ko'p o'tmay, Finkka ikkita politsiya detektivi tashrif buyuradi va ular Meadowsning asl ismi Karl "Madman" Mundt ekanligini xabar berishadi. Mundt ketma-ket qotil modus operandi bu boshini kesib tashlash uning qurbonlari. Fink hayron bo'lib, qutini ochmasdan stol ustiga qo'yadi va u qizg'in yozishni boshlaydi. Fink butun ssenariyni bitta o'tirishda tayyorlaydi va u tantanali raqsga chiqish uchun chiqadi. Fink o'z xonasida tergovchilarni topishga qaytib keladi, ular Mayxuning o'ldirilishi to'g'risida unga xabar berishadi va Finkni Mundt bilan sheriklikda ayblashadi.

Mehmonxona to'satdan alanga bilan o'ralganida, Mundt paydo bo'lib, detektivlarni miltiq bilan o'ldiradi, shundan so'ng u Nyu-Yorkdagi Finkning ota-onasi va amakisiga tashrif buyurganini eslaydi. Fink hanuzgacha yonib turgan mehmonxonadan qutisini va stsenariysini ko'tarib chiqib ketadi. Ko'p o'tmay u oilasiga telefon qilmoqchi bo'ldi, ammo javob yo'q. Lipnik bilan yakuniy uchrashuvda Finkning ssenariysi "azob-uqubatlar to'g'risida mevali film" deb baholandi va unga Los-Anjelesda qolishi kerakligi haqida xabar berildi; garchi Fink shartnomada qolsa-da, Capitol Pictures u "biroz o'sguncha" yozadigan narsalarini chiqarmaydi. Hayajonlangan Fink hali ham paketni ko'tarib plyajda yuribdi. U xuddi Ertdagi devoridagi rasmga o'xshagan ayolni uchratadi va u quti haqida so'raydi. U unga nima borligini va kimga tegishli ekanligini bilmasligini aytdi. Keyin u rasmdagi pozani oladi.

Cast

Ishlab chiqarish

Ma'lumot va yozuv

1989 yilda kinoijodkorlar Joel va Ethan Coen oxir-oqibat chiqarilgan film ssenariysini yozishni boshladi Millerning o'tish joyi. Hikoyaning ko'plab yo'nalishlari murakkablashdi va to'rt oydan so'ng ular bu jarayonda adashib qolishdi.[3] Garchi keyinchalik biograflar va tanqidchilar bunga murojaat qilishgan yozuvchi bloki,[4] aka-uka Koenlar bu ta'rifni rad etishdi. "Haqiqatan ham biz yozuvchilar blokidan aziyat chekkan edik, - dedi Djoel 1991 yilda bergan intervyusida, - lekin bizning ish tezligimiz pasayib ketdi va biz ma'lum masofani bosib o'tishga intildik. Millerning o'tish joyi."[5] Ular Los-Anjelesdan Nyu-Yorkka borishdi va boshqa loyihada ishlashni boshlashdi.[6]

The Coen birodarlar yozish haqida aytdi Barton Fink: "Biz hech qanday tadqiqot o'tkazmadik, aslida umuman."[7]

Uch hafta ichida Koens aktyor uchun maxsus yozilgan bosh rol bilan stsenariy yozdi Jon Turturro, kim bilan ishlashgan Millerning o'tish joyi. Yangi film, Barton Fink, tashlandiq ko'rinadigan katta mehmonxonaga joylashtirilgan.[5] Ushbu parametr, ular tomonidan nomlangan Hotel Earle, yangi loyihaning hikoyasi va kayfiyatining harakatlantiruvchi kuchi edi. Ularning 1984 yilgi filmini suratga olish paytida Qon oddiy yilda Ostin, Texas, Coens muhim taassurot qoldiradigan mehmonxonani ko'rgan edi: "Biz" Vau, Motel Hell "deb o'ylardik. Bilasizmi, dunyodagi eng g'alati mehmonxonada yashashga hukm qilingan. "[8]

Uchun yozish jarayoni Barton Fink silliq edi, - deyishdi ular, yiroqda bo'lish qulayligini taklif qilishdi Millerning o'tish joyi katalizator bo'lishi mumkin. Shuningdek, ular hikoyaning umumiy shakli bilan mamnunligini his qilishdi, bu esa ularga kompozitsiya orqali tez o'tishga yordam berdi. "Ayrim filmlar butunlay odamning boshiga tushadi; biz shunchaki paydo bo'ldik Barton Fink."[9] Yozish paytida Kenslar boshqa bir aktyorni hisobga olgan holda ikkinchi etakchi rolni yaratdilar: 1987 yilgi komediyasida paydo bo'lgan Jon Gudman Arizonani ko'tarish. Uning yangi xarakteri Charlie Bartonning g'orli mehmonxonadagi qo'shnisi edi.[10] Yozishdan oldin ham Kens hikoyaning qanday tugashini bilar edi va yozish jarayoni boshida Charliening so'nggi nutqini yozgan edi.[11]

Stsenariy o'zining boshqa yo'naltirilgan maqsadiga xizmat qildi va Coens buni chetga surib qo'ydi: "Barton Fink bizning miyamizni yuvib tashladi va biz orqaga qaytib, tugatishga muvaffaq bo'ldik Millerning o'tish joyi."[12] Birinchi filmni ishlab chiqarish tugagandan so'ng, Coens filmga kadrlarni jalb qila boshladi Barton Fink. Turturro bosh rolni o'ynashni orziqib kutdi va bir oy davomida Los-Anjelesdagi Koens bilan birga loyiha bo'yicha fikrlarni muvofiqlashtirdi: "Men Bartonga ko'proq insoniyroq narsa olib kela olishimni his qildim. Joel va Ethan menga ma'lum bir hissa qo'shishdi. Men harakat qildim kutganlaridan bir oz oldinga boringlar. "[13]

Ular batafsil ishlab chiqilganidek hikoya taxtalari uchun Barton Fink, Coens yangisini izlay boshladi operator, chunki ularning sherigi Barri Sonnenfeld - dastlabki uchta filmni suratga olgan - o'zining rejissyorlik debyuti bilan band edi, Addams oilasi. Koens ingliz kinematografiyasining ishidan hayratda qoldi Rojer Deakins, xususan 1988 yildagi filmning ichki sahnalari Bo'ronli dushanba. Boshqa filmlarni namoyish qilgandan so'ng u ishlagan (shu jumladan Sid va Nensi va Paskalining oroli ), ular Deakinsga ssenariy yuborishdi va uni loyihaga qo'shilishga taklif qilishdi. Uning agenti Coens bilan ishlashni maslahat berdi, ammo Deakins ular bilan kafeda uchrashdi Notting Hill va tez orada ular birgalikda ishlashni boshladilar Barton Fink.[14]

Suratga olish

Nyu-Yorkda boshlangan restoran sahnalari Barton Fink ichida tasvirga olingan RMS Qirolicha Maryam okean kemasi.[10]

Suratga olish 1990 yil iyun oyida boshlandi va sakkiz hafta davom etdi (talab qilinganidan uchdan kam vaqt) Millerning o'tish joyi) va filmning taxminiy yakuniy byudjeti 9 million AQSh dollarini tashkil etdi.[15] Koenslar Deakins bilan yaxshi ishladilar va ular har bir sahna uchun o'z g'oyalarini filmga osongina tarjima qildilar. "Biz uni hayratga solgan bir lahza bor edi", deb esladi keyinchalik Joel Coen. Kengaytirilgan sahna kuzatuv zarbasi yotoqxonadan chiqib, jinsiy aloqa belgisi sifatida qo'shni hammomdagi "tiqin teshigi" drenajiga. "Kadr juda qiziqarli bo'ldi va biz buni qanday amalga oshirishni yaxshi ko'rib chiqdik", dedi Joel. "Shundan so'ng, biz har safar Rojerdan biron bir qiyin ishni qilishni iltimos qilganimizda, u qoshini ko'tarib:" Menga hozirda biron bir vilka ochib qo'ymang ", deb aytardi."[16]

Uch haftalik suratga olish ishlari badiiy direktor tomonidan yaratilgan "Earl Hotel" mehmonxonasida o'tkazildi Dennis Gassner. Filmning avj nuqtasi Coens dastlab raqamli ravishda qo'shishni rejalashtirgan mehmonxonaning dahlizida katta yong'inni talab qildi. keyingi ishlab chiqarish. Ammo ular haqiqiy olovni ishlatishga qaror qilishganda, ekipaj tashlab ketilgan samolyotda katta alternativ to'plamni qurishdi angar da Long Beach. Yo'lak orqasida bir qator gaz jeti o'rnatildi va osonlikcha kirish uchun devor qog'ozi teshilgan edi. Gudman yo'lakdan yugurib o'tayotganda, tepada bir kishi podium har bir samolyotni ochdi va Charli oldida yong'in poygasi kabi taassurot qoldirdi. Har bir qabul qilish uchun apparatni qayta qurish kerak edi, va ikkinchi yo'lak (sans olov) filmni suratga olishga tayyor turardi olib ketish; ko'tarish tortishish orasidagi tortishish.[15] Oxirgi sahna yaqinida otib tashlandi Zuma plyaji, xuddi toshga urilgan to'lqin tasviri kabi.[10]

Coens filmni o'zlarining odatlariga ko'ra tahrir qildilar. "Biz amaliy yondashuvni afzal ko'ramiz, - deb tushuntirdi Djoel 1996 yilda, - birovning yonida o'tirib, nimani kesib tashlashni aytishdan ko'ra.[17] Film ishlab chiqarishga a'zo bo'lish qoidalari tufayli gildiyalar, ular taxallusdan foydalanishlari shart; "Roderik Jeyns" tahrirga loyiq deb topilgan Barton Fink.[18] So'nggi qismdan faqat bir nechta suratga olingan sahnalar olib tashlandi, shu jumladan Bartonning Nyu-Yorkdan Gollivudga harakatlanishini namoyish etish uchun o'tish davri. (Filmda bu toshga urilgan to'lqin bilan sirli tarzda namoyish etilgan.) Gollivud studiyalaridagi ishlarni aks ettiruvchi bir nechta sahnalar ham suratga olingan, ammo ular "juda odatiy" bo'lganligi sababli tahrir qilingan.[19]

O'rnatish

Barton xonasida tozalangan devor qog'ozi Charli yuqtirgan qulog'idan yiringni taqlid qilish uchun yaratilgan.[20]

Finkning yashash joylari va Gollivudning sayqallangan, toza atroflari, ayniqsa Jek Lipnikning uyi o'rtasida keskin farq bor. "Earl" mehmonxonasining beozor, tushunarsiz bo'sh tuyg'usi, Kensning film kontseptsiyasi uchun asosiy o'rinni egalladi. "Biz uni xohladik art deco stilizatsiya ", deb tushuntirdi Djoel 1991 yilda bergan intervyusida," va yaxshi kunlarni ko'rgandan keyin vayron bo'lgan joy ".[20] Bartonning xonasi kamdan-kam jihozlangan bo'lib, boshqa binoga qaragan ikkita katta deraza mavjud. Keyinchalik Kenslar mehmonxonani "hech kimga ko'z tikmay, boshqa yo'lovchilar borligi alomatlarini sezadigan sharpa kemasi" deb ta'riflagan. Filmda aholining poyafzallari bu ko'rinmas mavjudlikdan dalolat beradi; boshqa aholining yana bir noyob belgisi - bu qo'shni xonalardan chiqqan ovoz.[21] Djoel: "Siz buni o'z xonalarida yolg'iz yig'laydigan, jinsiy hayoti achinarli tijorat sayohatchilari ta'sirida deb tasavvur qilishingiz mumkin" dedi.[20]

Issiqlik va namlik sozlamaning boshqa muhim elementlari. Barton xonasidagi devor qog'ozi po'stlog'ini yumshatib qo'ydi; Charli xuddi shu muammoga duch keladi va buning sababi issiqlik deb taxmin qiladi. Coens mehmonxonani loyihalashda "chiriganlik aurasini taklif qilish uchun" yashil va sariq ranglardan keng foydalangan.[20]

Mehmonxonaning atmosferasi Charli xarakteri bilan bog'lanish uchun mo'ljallangan edi. Djoel tushuntirgandek: "Bundan tashqari, bizning niyatimiz shundaki, mehmonxonada Jon Gudman o'ynagan obrazni eksteriorizatsiya qilish vazifasi bor edi. Ter peshonasidan qogoz devorlarni qirib tashlaganday tomchilatib yuboradi. Oxirida, Gudman o'zini aytganda O'zining ruhiy holatidagi mahbus, bu qandaydir jahannamga o'xshaydi, chunki mehmonxonada allaqachon g'ayritabiiy bir narsa bo'lishi kerak edi. "[20] Peeling devor qog'ozi va uning ichidan o'tib ketadigan pasta, shuningdek, Charlining surunkali quloq infektsiyasini va natijada paydo bo'lgan yiringni aks ettiradi.[22]

Barton birinchi marta "Earl" mehmonxonasiga kelganida, undan do'stona qo'ng'iroqchi Chet (Stiv Buschemi ) agar u "trans yoki res" bo'lsa - vaqtinchalik yoki rezident. Barton bunga amin emasligini, ammo "abadiy" qolishini tushuntiradi.[23] Doimiy yashovchilar va mehmonlar o'rtasidagi ikkilik bir necha bor takrorlanadi, xususan, mehmonxonaning shiori, "Bir kun yoki butun umr", Barton xonaning ish yuritish materiallariga e'tibor beradi. Ushbu g'oya film oxirida, Charli Bartonni "yozuv mashinasi bilan sayyoh" deb ta'riflaganida qaytadi. Uning Earlni tark etish qobiliyatini (Charli qolgani kabi) tanqidchi Erika Rouell Bartonning hikoyasi o'zi yozish jarayonini namoyish etishining dalili sifatida taqdim etadi. Uning so'zlariga ko'ra, Barton hikoya qoldirishga qodir bo'lgan muallifni ifodalaydi, Charli singari belgilar esa buni qila olmaydi.[22]

Coens sozlashni tanladi Barton Fink vaqtida Perl-Harborga hujum "mehmonxonadan tashqaridagi dunyo qiyomat arafasida o'zini topayotganini" ko'rsatish.[5]

Aksincha, Capitol Pictures va Lipnikning uylari toza, bejirim bezatilgan va nihoyatda qulay. Kompaniyaning xonalari quyosh nurlari bilan yuvilgan va Ben Geyzlerning ishxonasi juda ko'p o'simlik dunyosiga duch keladi. Barton Lipnik bilan ulkan, beg'ubor basseyn yonida uchrashadi. Bu uning studiya rahbari lavozimini takrorlaydi, chunki u quyidagicha tushuntiradi: "... siz har doim ham halol bo'lolmaysiz, bu shahar atrofida suzib yurgan akulalar bilan emas ... agar men butunlay rostgo'y bo'lganimda edi bu hovuzdan milya - agar men uni tozalamagan bo'lsam. "[24] O'zining ofisida Lipnik o'zining qudratining yana bir sovrinini namoyish etadi: haykallar Atlas, Titan xudolariga qarshi urush e'lon qilgan yunon mifologiyasi Olimp tog'i va qattiq jazolandi.[25]

Barton soatlari kundalik nashrlar Capitol Pictures tomonidan suratga olinayotgan boshqa kurash filmidan; sana klapperboard 9 dekabr, ikki kundan keyin Perl-Harborga hujum. Keyinchalik, Barton tugallangan ssenariyni a da raqs bilan nishonlaganida USO ko'rsatish, u askarlar bilan o'ralgan.[26] Lipnikning navbatdagi ko'rinishida u polkovnik formasini kiyib olgan, bu uning kompaniyasining kostyumi. Lipnik aslida harbiy xizmatga kirmagan, ammo o'zini "kichkina sariq haromlar" ga qarshi kurashishga tayyor deb e'lon qiladi.[27] Dastlab, Amerika Qo'shma Shtatlari kirib kelganidan keyin bu tarixiy moment Ikkinchi jahon urushi Hotel Earle-ga sezilarli ta'sir ko'rsatishi kerak edi. Koens tushuntirgandek: "[W] mehmonxonada keksa odamlar, aqldan ozgan va jismoniy imkoniyati cheklangan mehmonxonalar haqida o'ylashar edi, chunki qolganlari urushga ketishgan. Ssenariy qancha ko'p ishlab chiqilsa, shuncha ko'p mavzu ortda qoldi, lekin bu bizni boshida o'sha davrda yashashimizga olib keldi. "[28]

Rasm

Ethan Coen 1991 yilgi intervyusida, Barton xonasida (yuqorida) plyajdagi ayol "tasalli hissi" berishga mo'ljallanganligini aytdi.[29] Bir tanqidchi uning so'nggi sahnada bo'lishini (quyida) "shakl parodiyasi" deb ataydi.[30]

Bartonning plyajdagi xonasidagi ayolning surati ham personaj, ham kamera uchun asosiy e'tiborni tortadi. U buni stolida tez-tez ko'rib chiqadi va yotog'ida Odrining jasadini topgach, uning yoniga kelib turadi. Tasvir film oxirida, xuddi shu qiyofadagi plyajda bir xil qiyofadagi ayolni uchratganida takrorlanadi. Uning go'zalligini maqtab bo'lgach, u undan: "Suratdasizmi?" U qizarib, javob beradi: "Ahmoq bo'lma".[31]

Coens yozish jarayonida rasmni xonadagi asosiy element sifatida kiritishga qaror qildi. "Bizning maqsadimiz, - deb tushuntirdi keyinroq Djoel, - xona juda kam bezatilgan bo'lishi, devorlari yalang'och bo'lishi va derazalar hech qanday qiziqish uyg'otmasligi kerak edi. Aslida biz tashqi tomondan yagona ochilishni xohladik. Biz uchun izolyatsiya tuyg'usini yaratish muhim tuyuldi. "[32]

Keyinchalik filmda Barton ramkaga mayda kostyum kiygan va portfel ushlagan Charli rasmini joylashtirdi. Sug'urta sotuvchisi formasidagi qo'shnisining yonma-yon joylashishi va plyajdagi ayolning eskapist qiyofasi Barton uchun haqiqat va xayolning chalkashliklariga olib keladi. Tanqidchi Maykl Dann qayd etadi: "[V] tomoshabinlar faqat Charli qanchalik" haqiqiy "ekanligi haqida hayron bo'lishlari mumkin ... ... Filmning so'nggi suratida ... tomoshabinlar [ayol] qanchalik" haqiqiy "ekanligi haqida hayron bo'lishlari kerak. Savol boshqalarga olib keladi: "Fink qanchalik haqiqat? Lipnik? Odri? Mayvyu? Filmlar qanchalik haqiqat?"[33]

Rasmning ahamiyati keng spekulyatsiya mavzusi bo'ldi. Washington Post Sharhlovchi Desson Xouning aytishicha, hissiy ta'sirga ega bo'lishiga qaramay, so'nggi sahna "ko'proq punchline uchun uydirma, soxta koda kabi ko'rinadi".[34] Rouell aka-uka Koenlarning filmlarini tahlil qilishda, Bartonning rasmga qo'ygan fikri kinoyali ekanligini ta'kidlaydi past madaniyat holati va o'zining oldinga intilishlari yuqori madaniyat (shunga qaramay nutqlar aksincha). Uning ta'kidlashicha, kamera Bartonning o'zi unga qaragancha, uning rasmiga diqqatini qaratadi. Bir vaqtning o'zida kamera plyajdagi ayol bilan ramkani to'ldirish uchun Barton yonidan o'tmoqda. Ob'ektiv va sub'ektiv nuqtai nazardan ushbu keskinlik film oxirida, Barton o'zini - ma'lum ma'noda - rasm ichida topganda yana paydo bo'ladi.[35]

Tanqidchi M.Kit Booker yakuniy sahnani "vakillik va san'at va haqiqat o'rtasidagi munosabatlar haqidagi jumboqli sharh" deb ataydi. U bir xil tasvirlar hayotni bevosita aks ettiradigan san'atning bema'niligini ko'rsatishini taklif qiladi. Film ayolni san'atdan to'g'ridan-to'g'ri haqiqatga ko'chiradi va tomoshabinda chalkashliklarni keltirib chiqaradi; Bukerning ta'kidlashicha, bunday tom ma'noda tasvir noaniqlikka olib keladi.[36]

Ko'plab tanqidchilar "Qarama-qarshiliklar to'g'risidagi qonun ", Coen tomonidan ishlab chiqarilgan teleserialning bir qismi Fargo ularning asosida nomli 1996 yilgi film, epizodning asosiy qahramoni Gloriya sifatida rasmga havola mavjud plyajda tortishish va rasmdagiga o'xshash holatda o'tiradi. Epizodning mavzulari ham taqqoslandi Barton Fink 's.[37][38][39][40]

Janr

Coenslar oddiy tasnifga zid bo'lgan filmlarni suratga olishlari bilan mashhur. Garchi ular birinchi filmlariga murojaat qilishsa ham, Qon oddiy (1984), nisbatan sodda misol sifatida detektiv fantastika, Coens keyingi ssenariysini yozdi, Arizonani ko'tarish (1987), ma'lum bir janrga moslashishga urinmasdan. Ular a yozishga qaror qilishdi komediya ammo qasddan quyuq elementlarni qo'shib, Ethan "juda vahshiy film" deb ataydi.[41] Ularning uchinchi filmi, Millerning o'tish joyi (1990), ushbu tartibni o'zgartirib, komediya qismlarini a-ga aralashtirib yubordi jinoyat haqidagi film. Shunga qaramay, u konventsiyalardan foydalanib bitta janrli identifikatorni buzadi melodrama, sevgi hikoyalari va siyosiy satira.[42]

Aralashtirish janrlarining ushbu tendentsiyasi davom etdi va kuchayib bordi Barton Fink (1991); Coens filmning "hech qanday janrga tegishli emasligini" ta'kidlamoqda.[2] Ethan buni "a do'stim filmi 90-yillar uchun ".[43] Unda komediya elementlari, film noir va dahshat, ammo boshqa film toifalari mavjud.[44] Aktyor Turturro buni a yoshi haqida hikoya,[43] adabiyot professori va kino tahlilchisi R. Barton Palmer buni a Künstlerroman, yozuvchi sifatida bosh qahramon evolyutsiyasining ahamiyatini ta'kidlab.[45] Tanqidchi Donald Lion filmni "retro-syurrealist ko'rish ".[46]

Chunki u janrlarni kesib o'tadi, qahramonlarning tajribalarini parchalaydi va to'g'ridan-to'g'ri bayoniy qarorga qarshilik ko'rsatadi, Barton Fink ko'pincha misol sifatida ko'rib chiqiladi postmodernist film. Uning kitobida Postmodern Gollivud, Bookerning aytishicha, film an bilan o'tmishni beradi impressionist texnika, aniq aniqlik emas. Uning ta'kidlashicha, ushbu uslub "o'tmishni hozirgi zamonning tarixi emas, balki material uchun reyd qilinishi kerak bo'lgan tasvirlar ombori sifatida qaraydigan postmodern filmga xosdir".[47] Koensning filmlarini tahlil qilishda Palmer chaqiradi Barton Fink "postmodern pastiche", bu o'tgan davrlarning o'zini qanday namoyon etganligini sinchkovlik bilan o'rganib chiqadi. U buni taqqoslaydi Soatlar (2002), haqida film Virjiniya Vulf va uning asarini o'qigan ikki ayol. Uning ta'kidlashicha, ikkala film ham o'tmish ahamiyatini inkor etishdan yiroq, bizning tushunchamizni yanada oshiradi. U adabiyot nazariyotchisining so'zlarini keltiradi Linda Xetcheon: ushbu filmlarda namoyish etilgan postmodernizm turi "inkor etmaydi mavjudlik o'tmish; biz hech qachon qila olamizmi degan savol tug'iladi bilish matnlashtirishdan tashqari o'tgan o'tmish qoladi ".[48]

In ba'zi elementlar Barton Fink postmodernizm qoplamasini ajratib ko'rsatish: yozuvchi uni hal qila olmaydi zamonaviyist yuqori rentabellikga ega bo'lgan filmlarni yaratish istagi bilan studiyaning yuqori madaniyatga e'tiborini qaratish; Natijada to'qnashuv postmodernizm emblematikasining singan hikoyasini hosil qiladi.[49] Coensning kinematik uslubi yana bir misol; Barton va Odri bir-birini sevishni boshlaganlarida, kamera hammomga o'girilib, keyin lavabo tomon harakatlanib, uning suv o'tkazgichi bo'ylab harakatlanadi. Rouell buni rejissyor tomonidan ishlatilgan poezdning tunnelga kirib borishi bilan bog'liq taniqli shahvoniy tasvirni "postmodern yangilanishi" deb ataydi Alfred Xitkok uning filmida Shimoliy-g'arbiy tomonidan shimoliy (1959).[50]

Uslub

Kinorejissyorning ta'siri Alfred Xitkok filmda bir necha marta paydo bo'ladi. Bitta sahnada Bartonning ko'zoynagi kurash sahnasini aks ettiradi; bu Hitchcock filmidan olingan kadrni aks ettiradi Mashhur (1946).[51]

Barton Fink hikoyaning kayfiyatini ta'kidlash va ma'lum mavzularga vizual ahamiyat berish uchun bir nechta uslubiy kelishuvlardan foydalanadi. Masalan, ochilish krediti Hotel Earle-ning devor qog'ozi bo'ylab siljiydi, chunki kamera pastga qarab harakatlanadi. Ushbu harakat filmda ko'p marta takrorlangan, ayniqsa, Bartonning yozish paytida uning ishi "chuqurliklarni to'kish" degan da'vosiga binoan.[35] Uning Earl mehmonxonasidagi birinchi tajribasi buni davom ettiradi trop; polvonning ostidan qo'ng'iroqchi Chet chiqib, poyabzalni olib yuribdi (u, ehtimol u jilolagan), bu haqiqiy faoliyat er ostida ekanligini anglatadi. Bartonning qavati, ehtimol, qabulxonadan olti qavat balandlikda bo'lishiga qaramay, liftning ichki qismi faqat pastga tushganda ko'rsatiladi. Ushbu elementlar - ko'plab dramatik pauzalar, syurreal dialoglar va zo'ravonlik tahdidlari bilan birlashganda - keskin keskinlik muhiti yaratadi. Kensning ta'kidlashicha, "butun film yaqinlashib kelayotgan halokat yoki falokat kabi his etilishi kerak edi. Va biz uni oxirat tuyg'usi bilan tugashini istaganmiz".[52]

Uslubi Barton Fink 1930 va 1940 yillardagi filmlarning vakili va vakili. Tanqidchi Maykl Dann ta'kidlaganidek: "Finkning og'ir paltosi, shlyapasi, qorong'u va g'alati kostyumlari o'ttizinchi yillardan real tarzda chiqadi, ammo ular o'ttizinchi yillarning filmlaridan ham ko'proq chiqadi".[53] "Earl" mehmonxonasining uslubi va turli xil sahnalardagi atmosfera Ikkinchi Jahon Urushidan oldingi filmlar yaratilishining ta'sirini ham aks ettiradi. Hatto Charli filmidagi qahramoni kiygan ichki kiyim ham unga mos keladi Jek Oaki. Shu bilan birga, Coens tomonidan ishlatiladigan kamera texnikasi Barton Fink klassikaning original bilan kombinatsiyasini ifodalaydi. Ehtiyotkorlik bilan kuzatilgan kadrlar va o'ta yaqin tasvirlar filmni 20-asr oxiridagi mahsulot sifatida ajratib turadi.[54]

Boshidanoq film Barton filmi o'rtasida doimiy ravishda harakatlanadi sub'ektiv qarash dunyodagi va ob'ektiv bo'lgan. Dastlabki kreditlar to'plangandan so'ng, kamera Bartonga qarab, uning o'yinining oxirini tomosha qilmoqda. Yaqinda biz uning nuqtai nazaridan tomoshabinlarni ko'rayapmiz, u uchun jon kuydirmoqda. U oldinga qarab ketayotganda u kadrga kiradi va tomoshabin ob'ektiv nuqtai nazarga qaytariladi. So'nggi sahnada sub'ektiv va ob'ektiv qaytishlarning xiralashishi.[55]

O'zgaruvchan nuqtai nazar filmning mavzusi bilan mos keladi: film yaratish. Film spektakl tugashi bilan boshlanadi va voqea ijod jarayonini o'rganadi. Bu metanarrativ yondashuv kameraning birinchi sahnada u tomosha qilayotgan spektaklda emas, balki Bartonda (aktyorlar ekrandan tashqari so'zlarni og'zaki nutqida gapirganligi) diqqat markazida ekanligi bilan ajralib turadi. Rouell aytganidek: "[ho] biz bir sahnani tinglaymiz, boshqasini tomosha qilamiz. ... Ovoz va rasmning ajralib turishi, badiiylikning ikki 'ko'rinishi' o'rtasidagi muhim ikkilikni ko'rsatadi: qahramon tomonidan yaratilgan dunyo (uning pesasi) va uning tashqarisidagi dunyo (spektakl yaratishga kiradigan narsa) ".[56]

Filmda ko'plab ishchilar ham ishlaydi oldindan bashorat qilish texnikasi. Charli tark etishi mumkin bo'lgan paketdagi tarkibni Barton bilan belgilab, asl ssenariyda "bosh" so'zi 60 marta uchraydi.[57] Keyingi voqealarga dahshatli bosh irg'ab, Charli o'zining "sotish" ishiga bo'lgan ijobiy munosabatini tasvirlab berdi sug'urta: "Yong'in, o'g'irlik va qurbonlik faqatgina boshqa odamlarga tegishli bo'lgan narsalar emas."[58]

Simvolik

Ning ramziy ma'nolari haqida ko'p yozilgan Barton Fink. Rouell bu "hamma rassomga olib boradigan g'oyalarning majoziy boshi" deb taklif qiladi.[58] Jinsiy sahnaning Audrining o'ldirilishiga yaqinligi Lionni: "Jinsiy aloqa Barton Fink o'limdir ".[59] Boshqalar filmning ikkinchi yarmi kengaytirilgan deb taxmin qilishdi tush ketma-ketligi.[29]

Biroq, Coens filmdagi ramzlardan tizimli birlik yaratish niyatini rad etdi. "Biz hech qachon va hech qachon o'z filmlarimizga shunga o'xshash narsalarni o'ylamaymiz", dedi Jouel 1998 yilda bergan intervyusida. "Bunday intellektual buzilishga hech qachon yaqinlashadigan narsa yo'q. Bu har doim biron bir sababga ko'ra o'zini his qiladigan instinktiv narsalar to'plami".[60] Coenslar o'zlarining qulayliklarini hal qilinmagan noaniqliklar bilan ta'kidladilar. Ethan 1991 yilda shunday degan edi: "Barton Fink nima bo'lishini bilish uchun muhim bo'lgan darajada aytib berish bilan yakunlanadi ... Tiniq bo'lmagan narsa billurga aylanishga mo'ljallanmagan va shu bilan qoldirganingiz ma'qul. "[61] U xayollar va tushlar ketma-ketligi haqida shunday dedi:

Biz tomoshabin Barton Finkning ichki hayoti va uning nuqtai nazari bilan o'rtoqlashishini xohladik, deyish to'g'ri. Ammo uzoqqa borishga hojat yo'q edi. Masalan, filmning oxirida Barton Finkning uyg'onishi va shu bilan u aslida filmda tasvirlanganidan kattaroq haqiqatda yashagan degan fikrni ilgari surishimiz noto'g'ri bo'lar edi. Har holda, xayoliy personajga nisbatan "haqiqat" haqida gapirish har doim sun'iydir.[29]

The gomerotik Bartonning Charli bilan munosabatlariga oid g'oyalar beixtiyor emas. Garchi bitta detektiv ulardan "qandaydir kasal jinsiy aloqa" borligini bilishni talab qilsa-da, ularning yaqinligi deviantdan boshqa narsa emas va oddiy jinsiy konvensiyalarda yashiringan. Masalan, Charlining qo'shnisiga nisbatan birinchi do'stona uverture standart ko'rinishida bo'ladi qabul qilish liniyasi: "Agar sizga ichimlik ichishga ijozat bersangiz, men la'natlangan noqulayliklar haqida o'zimni yaxshi his qilardim".[62] Barton va Charli o'rtasidagi kurash sahnasi ham gomerotik mehrga misol sifatida keltirilgan. "Biz buni seks sahnasi deb bilamiz", deb aytgan Djoel Koen 2001 yilda.[63]

Ovoz va musiqa

Ko'p ovoz effektlari Barton Fink ma'no yuklangan. Masalan, Barton Nyu-York shahrida ovqatlanayotganda qo'ng'iroq bilan chaqiriladi; uning ovozi engil va yoqimli. Aksincha, Hotel Earle-ning dahshatli doimiy qo'ng'irog'i qabulxonada Chet jim bo'lguncha cheksiz jiringlaydi.[64] Yaqin atrofdagi mehmonxonalar guttural faryodlar, nolalar va noaniq shovqinlarni doimiy ravishda chiqaradilar. Bu tovushlar Bartonning chalkash ruhiy holatiga to'g'ri keladi va Charlining "Men bu axlatxonada nima sodir bo'lsa hammasini eshityapman" degan gapiga nuqta qo'yadi.[50] Birinchi sahnadagi qarsaklar, Bartonning g'arbiy yo'nalishdagi tarangligini, xuddi okean to'lqinining qulashi bilan aralashganligini tasavvur qiladi - bu tasvir yaqin orada ekranda namoyish etiladi.[65]

Birodarlar Koen bilan " ASPCA yoki suratga olish boshlanishidan oldin qandaydir bir hayvonlar ". Ular ssenariyning nusxasini ushlab qolishdi va biz qanday ishlashimiz kerakligini bilmoqchi edilar. chivinlar. Men hazillashmayapman "dedi.[66]

Yana bir ramziy tovush - bu a chivin. Garchi uning prodyuseri bu parazitlar Los-Anjelesda yashamasligini talab qilsa ham ("chivinlar botqoqlarda ko'payadi; bu cho'l")[67]), uning o'ziga xos ovozi Barton o'zining mehmonxona xonasida yuqoridagi hasharotlar doirasini tomosha qilayotganda aniq eshitiladi. Keyinchalik, u yig'ilishlarga yuzida chivin chaqishi bilan keladi. Hasharotlar, shuningdek, Audreyning o'limi haqidagi vahiyda muhim rol o'ynaydi; Barton uning jasadiga ovqat berayotgan chivinni tarsaki tushiradi va birdan uning o'ldirilganligini tushunadi. Chivinlarning gumburlashi balandligi filmning skorlari uchun ishlatiladigan baland satrlarda aks etadi.[68] Filmni suratga olish jarayonida Coens bilan hayvonlar huquqlarini himoya qilish guruhi bog'lanib, ular chivinlarga qanday munosabatda bo'lishidan xavotir bildirdi.[66]

The Xol tomonidan tuzilgan Karter Burvell, Coens bilan birinchi filmidan beri kim ishlagan. Ilgari loyihalardan farqli o'laroq - Irlandiyalik xalq musiqasi uchun ishlatilgan Millerning o'tish joyi va buning uchun Amerika xalq qo'shig'i Arizonani ko'tarish - Burvell musiqasini yozgan Barton Fink ma'lum bir ilhomsiz.[69] Hisob 1996 yilda kompensat diskda chiqarilib, u Coens filmi ballari bilan birlashtirilgan Fargo (1996).[70]

Filmda ishlatilgan bir nechta qo'shiqlar ma'no bilan to'ldirilgan. Bir payt Meyxyu mast holda Barton va Odridan qoqilib ketadi. Adashib yurganida, u xalq qo'shig'ini kuylaydi "Qari Qora Djo "(1853). Muallif: Stiven Foster, bu keksa qul o'z do'stlariga "yaxshiroq erga" qo'shilishga tayyorlanayotgani haqida hikoya qiladi. Mayxuning ushbu qo'shiqni ijro etishi uning Capitol Pictures-ning zulm qilingan xodimi bo'lgan holatiga to'g'ri keladi va bu film oxirida Bartonning o'z holatini oldindan aytib beradi.[71]

Ssenariysini yozib bo'lgach, Barton a da raqsga tushgan holda nishonlaydi Birlashgan xizmat tashkilotlari (USO) shou. Ushbu sahnada ishlatiladigan qo'shiq "Down South Camp Meeting", a belanchak sozlash. Uning so'zlarida (filmda eshitilmagan) shunday deyilgan: "Git tayyor (Sing) / Mana ular kelishdi! Xor hammasi tayyor". Ushbu satrlar Barton dramasining sarlavhasini aks ettiradi, Yalang'och vayron qilingan xorlar. Bayram tantanali ravishda boshlanganda, musiqa shiddati kuchayadi va kamera karnayning g'orli bo'shlig'iga yaqinlashadi. Ushbu ketma-ketlik kamerani kattalashtirishni lavhadagi drenajga aks ettiradi, bundan oldin Odri filmda o'ldirilguncha[26]

Manbalar, ilhomlar va tashbehlar

Film uchun ilhom bir nechta manbalardan olingan va u o'z ichiga oladi tashbehlar turli xil odamlar va voqealarga. Masalan, Barton asarining nomi, Yalang'och vayron qilingan xorlar, to'rtinchi qatordan keladi Sonnet 73 tomonidan Uilyam Shekspir. She'rning qarish va o'limga qaratilganligi filmning badiiy qiyinchiliklarni o'rganish bilan bog'liq.[72]

Keyinchalik, piknik sahnasining bir qismida Mayxu mast holda Barton va Audreydan uzoqlashib ketayotganda, u shunday deb chaqirdi: "Darien cho'qqisiga jim!" Bu oxirgi qator Jon Kits sonnet "Chapmanning Gomeriga birinchi marta qarash to'g'risida "(1816). Adabiy ma'lumotnoma nafaqat personajning mumtoz matnlarni bilishini, balki she'rda tinch okeani Mayhewning "jus" ning Tinch okeaniga borishini, u erdan esa men "improvizatsiya" qilishini e'lon qildi.[73]

Boshqa akademik tashbehlar boshqa joylarda, ko'pincha o'ta noziklik bilan keltirilgan. Masalan, Mayhew romanidagi sarlavha sahifasining qisqacha surati "Svayn va Pappas" nashriyotidan dalolat beradi. Bu, ehtimol Marshal Svayn va Jorj Pappas, asarlari filmda o'rganilgan mavzular, shu jumladan bilim va borliq tabiati cheklanganligi bilan bog'liq bo'lgan faylasuflar.[74] Bir tanqidchining ta'kidlashicha, Bartonning mehmonxona xonasi tomidagi dog 'ustiga o'rnatilishi qahramonning xatti-harakatlariga mos keladi Flannery O'Connor qissasi "Chidamsiz sovuq".[75]

Tanqidchilar filmda yozuvchilarning ishlariga bilvosita murojaat qilishlarini tavsiya qilishdi Dante Aligeri (yordamida Ilohiy komediya tasvir) va Iogann Volfgang fon Gyote (mavjudligi orqali Faustian savdolashish).[76] Romanlaridagi kabi byurokratik tuzilmalar va mantiqsiz belgilar Franz Kafka, filmda paydo bo'lgan, ammo Coensning ta'kidlashicha, ulanish mo'ljallanmagan. "Men uni kollejdan beri o'qimaganman", - deb tan oldi Joel 1991 yilda, "men shunga o'xshash asarlarni yutib yuborganimda Metamorfoz. Boshqalar aytib o'tgan Qal'a va "Jazoni ijro etish koloniyasida ", lekin men ularni hech qachon o'qimaganman."[77]

Klifford Odets

Barton Finkning xarakteriga erkin asos solingan Klifford Odets, 1930-yillarda qo'shilgan Nyu-Yorklik dramaturg Guruh teatri, shu jumladan dramaturglar yig'ilishi Garold Klurman, Cheril Krouford va Li Strasberg. Ularning ishlarida ijtimoiy muammolar ta'kidlangan va ish bilan ta'minlangan Stanislavskiy tizimi inson tajribasini iloji boricha haqiqat sifatida tiklash uchun harakat qilish. Brodveyda Odetsning bir nechta pyesalari muvaffaqiyatli ijro etildi Uyg'oning va qo'shiq qiling! va Lefty-ni kutmoqdaman (ikkalasi ham 1935 yilda). Qachon jamoat didi siyosiy aloqada bo'lgan teatrdan va oilaviy tomon burilib ketganda realizm ning Evgeniya O'Nil, Odets had difficulty producing successful work, so he moved to Hollywood and spent 20 years writing film scripts.[78]

The resemblance of Clifford Odets to actor John Turturro is "striking", according to critic R. Barton Palmer.[79]

The Coens wrote with Odets in mind; they imagined Barton Fink as "a serious dramatist, honest, politically engaged, and rather naive".[80] As Ethan said in 1991: "It seemed natural that he comes from Group Theater and the decade of the thirties."[80] Like Odets, Barton believes that the theatre should celebrate the trials and triumphs of everyday people; like Barton, Odets was highly egotistical.[81] In the film, a review of Barton's play Bare Ruined Choirs indicates that his characters face a "brute struggle for existence ... in the most squalid corners". This wording is similar to the comment of biographer Gerald Weales that Odets' characters "struggle for life amidst petty conditions".[74] Lines of dialogue from Barton's work are reminiscent of Odets' play Uyg'oning va qo'shiq qiling!. For example, one character declares: "I'm awake now, awake for the first time". Another says: "Take that ruined choir. Make it sing".[82]

However, many important differences exist between the two men. Joel Coen said: "Both writers wrote the same kind of plays with proletarian heroes, but their personalities were quite different. Odets was much more of an extrovert; in fact he was quite sociable even in Hollywood, and this is not the case with Barton Fink!"[80] Although he was frustrated by his declining popularity in New York, Odets was successful during his time in Hollywood. Several of his later plays were adapted – by him and others – into films. Ulardan biri, Katta pichoq (1955), matches Barton's life much more than Odets'. In it, an actor becomes overwhelmed by the greed of a film studio which hires him and eventually commits suicide.[83] Another similarity to Odets' work is Audrey's death, which mirrors a scene in Tongda tugash muddati (1946), a film noir written by Odets. In that film, a character awakens to find that the woman he bedded the night before has been inexplicably murdered.[84]

Odets chronicled his difficult transition from Broadway to Hollywood in his diary, published as The Time Is Ripe: The 1940 Journal of Clifford Odets (1988). The diary explored Odets' philosophical deliberations about writing and romance. He often invited women into his apartment, and he describes many of his affairs in the diary. These experiences, like the extended speeches about writing, are echoed in Barton Fink when Audrey visits and seduces Barton at the Hotel Earle.[85] Turturro was the only member of the production who read Odets' Jurnal, however, and the Coen brothers urge audiences to "take account of the difference between the character and the man".[80]

Uilyam Folkner

Aktyor Jon Mahoney was selected for the part of W.P. Mayhew "because of his resemblance to Uilyam Folkner " (pictured).[80]

Some similarities exist between the character of W.P. Mayhew and novelist Uilyam Folkner. Like Mayhew, Faulkner became known as a preeminent writer of Janubiy adabiyot and later worked in the film business. Like Faulkner, Mayhew is a heavy drinker and speaks contemptuously about Hollywood.[80] Faulkner's name appeared in the Hollywood 1940s history book City of Nets, which the Coens read while creating Barton Fink. Ethan explained in 1998: "I read this story in passing that Faulkner was assigned to write a wrestling picture.... That was part of what got us going on the whole Barton Fink narsa. "[86] Faulkner worked on a wrestling film called Go'sht (1932), u yulduz bo'lgan Wallace Beery, the actor for whom Barton is writing.[87] The focus on wrestling was fortuitous for the Coens, as they participated in the sport in high school.[86]

However, the Coens disavow a significant connection between Faulkner and Mayhew, calling the similarities "superficial".[80] "As far as the details of the character are concerned," Ethan said in 1991, "Mayhew is very different from Faulkner, whose experiences in Hollywood were not the same at all."[80] Unlike Mayhew's inability to write due to drink and personal problems, Faulkner continued to pen novels after working in the film business, winning several awards for fiction completed during and after his time in Hollywood.[88]

Jek Lipnik

Lerner Akademiya mukofoti -nominated character of studio mogul Jack Lipnick is a composite of several Hollywood producers, including Garri Kon, Lui B. Mayer va Jek L. Uorner – three of the most powerful men in the film industry at the time in which Barton Fink o'rnatilgan.[89] Like Mayer, Lipnick is originally from the Belorussiya Poytaxt shahar Minsk. When World War II broke out, Warner pressed for a position in the military and ordered his wardrobe department to create a military uniform for him; Lipnick does the same in his final scene. Warner once referred to writers as "schmucks with Underwoods", leading to Barton's use in the film of an Underwood typewriter.[90]

At the same time, the Coens stress that the labyrinth of deception and difficulty Barton endures is not based on their own experience. Although Joel has said that artists tend to "meet up with Filistlar ", he added: "Barton Fink is quite far from our own experience. Our professional life in Hollywood has been especially easy, and this is no doubt extraordinary and unfair".[20] Ethan has suggested that Lipnick – like the men on which he is based – is in some ways a product of his time. "I don't know that that kind of character exists anymore. Hollywood is a little more bland and corporate than that now".[91]

Kino

The Coens have acknowledged several cinematic inspirations for Barton Fink. Chief among these are three films by Polish-French film-maker Roman Polanski: Qaytish (1965), Kul-de-Sak (1966) va The Tenant (1976). These films employ a mood of psychological uncertainty coupled with eerie environments that compound the mental instability of the characters. Barton's isolation in his room at the Hotel Earle is frequently compared to that of Trelkovsky in his apartment in The Tenant.[92] Ethan said regarding the genre of Barton Fink: "[I]t is kind of a Polanski movie. It is closer to that than anything else."[65] By coincidence, Polanski was the head of the jury at the Kann kinofestivali in 1991, where Barton Fink premerasi. This created an awkward situation. "Obviously", Joel Coen said later, "we have been influenced by his films, but at this time we were very hesitant to speak to him about it because we did not want to give the impression we were sucking up".[2]

Other works cited as influences for Barton Fink include the film Yorqin (1980), produced and directed by Stenli Kubrik va komediya Sallivanning sayohatlari (1941), written and directed by Preston Sturges.[93] Set in an empty hotel, Kubrick's film concerns a writer unable to proceed with his latest work. Although the Coens approve of comparisons to Yorqin, Joel suggests that Kubrick's film "belongs in a more global sense to the horror film genre".[2] Sallivanning sayohatlari, released the year in which Barton Fink is set, follows successful director John Sullivan, who decides to create a film of deep social import – not unlike Barton's desire to create entertainment for "the common man". Sullivan eventually decides that comedic entertainment is a key role for film-makers, similar to Jack Lipnick's assertion at the end of Barton Fink that "the audience wants to see action, adventure".[94]

Additional allusions to films and film history abound in Barton Fink. At one point a character discusses "Victor Soderberg"; the name is a reference to Viktor Syöstrem, a Swedish director who worked in Hollywood under the name Victor Seastrom.[95] Charlie's line about how his troubles "don't amount to a hill of beans" is a probable homage to the film Kasablanka (1942). Another similarity is that of Barton Fink's beach scene to the final moment in La Dolce Vita (1960), wherein a young woman's final line of dialogue is obliterated by the noise of the ocean.[96] The unsettling emptiness of the Hotel Earle has also been compared to the living spaces in Kalit Largo (1948) va Quyosh botishi bulvari (1950).[65]

Mavzular

Two of the film's central themes – the culture of entertainment production and the writing process – are intertwined and relate specifically to the self-referential nature of the work (as well as the work within the work). It is a film about a man who writes a film based on a play, and at the centre of Barton's entire opus is Barton himself. The dialogue in his play Bare Ruined Choirs (also the first lines of the film, some of which are repeated at the end of the film as lines in Barton's screenplay The Burlyman) give us a glimpse into Barton's self-descriptive art. The mother in the play is named "Lil", which is later revealed to be the name of Barton's own mother. In the play, "The Kid" (a representation of Barton himself) refers to his home "six flights up" – the same floor where Barton resides at the Hotel Earle. Moreover, the characters' writing processes in Barton Fink reflect important differences between the culture of entertainment production in New York's Broadway district and Hollywood.[97]

Broadway va Gollivud

Although Barton speaks frequently about his desire to help create "a new, living theater, of and about and for the common man", he does not recognize that such a theater has already been created: the films. In fact, he disdains this authentically popular form.[98] On the other hand, the world of Broadway theatre in Barton Fink ning joyi yuqori madaniyat, where the creator believes most fully that his work embodies his own values. Although he pretends to disdain his own success, Barton believes he has achieved a great victory with Bare Ruined Choirs. He seeks praise; when his agent Garland asks if he has seen the glowing review in the Xabarchi, Barton says "No", even though his producer had just read it to him. Barton feels close to the theatre, confident that it can help him create work that honors "the common man". The men and women who funded the production – "those people", as Barton calls them – demonstrate that Broadway is just as concerned with profit as Hollywood; but its intimacy and smaller scale allow the author to feel that his work has real value.[99]

Filmda, Gollivud demonstrates many forms of what author Nancy Lynn Schwartz describes as "forms of economic and psixologik manipulyatsiya used to retain absolute control".[100]

Barton does not believe Hollywood offers the same opportunity. In the film, Los Angeles is a world of false fronts and phony people. This is evident in an early line of the screenplay (filmed, but not included in the theatrical release[101]); while informing Barton of Capitol Pictures' offer, his agent tells him: "I'm only asking that your decision be informed by a little realism – if I can use that word and Hollywood in the same breath".[102] Later, as Barton tries to explain why he is staying at the Earle, studio head Jack Lipnick finishes his sentence, recognizing that Barton wants a place that is "less Hollywood". The assumption is that Hollywood is fake and the Earle is genuine. Producer Ben Geisler takes Barton to lunch at a restaurant featuring a mural of the "New York Cafe", a sign of Hollywood's effort to replicate the authenticity of the AQShning Sharqiy qirg'og'i.[26] Lipnick's initial overwhelming exuberance is also a façade. Although he begins by telling Barton: "The writer is king here at Capitol Pictures", in the penultimate scene he insists: "If your opinion mattered, then I guess I'd resign and let siz run the studio. It doesn't, and you won't, and the lunatics are not going to run bu particular asylum".[103]

Deception in Barton Fink is emblematic of Hollywood's focus on past madaniyat, its relentless desire to efficiently produce formulaic entertainment for the sole purpose of economic gain. Capitol Pictures assigns Barton to write a wrestling picture with superstar Wallace Beery in the leading role. Although Lipnick declares otherwise, Geisler assures Barton that "it's just a B rasm ". Audrey tries to help the struggling writer by telling him: "Look, it's really just a formula. You don't have to type your soul into it".[104] This formula is made clear by Lipnick, who asks Barton in their first meeting whether the main character should have a love interest or take care of an orphaned child. Barton shows his ikonoklazma by answering: "Both, maybe?"[105] In the end, his inability to conform to the studio's norms destroys Barton.

A similar depiction of Hollywood appears in Natanael G'arbiy roman Chigirtka kuni (1939), which many critics see as an important precursor to Barton Fink.[106] Set in a run-down apartment complex, the book describes a painter reduced to decorating film sets. It portrays Hollywood as crass and exploitative, devouring talented individuals in its neverending quest for profit. In both West's novel and Barton Fink, protagonists suffer under the oppressive industrial machine of the film studio.[107]

Yozish

The film contains further self-referential material, as a film about a writer having difficulty writing (written by the Coen brothers while they were having difficulty writing Millerning o'tish joyi). Barton is trapped between his own desire to create meaningful art and Capitol Pictures' need to use its standard conventions to earn profits.[105] Audrey's advice about following the formula would have saved Barton, but he does not heed it. However, when he puts the mysterious package on his writing desk (which might have contained her head), she might have been helping him posthumously, in other ways.[108] The film itself toys with standard screenplay formulae. As with Mayhew's scripts, Barton Fink contains a "good wrestler" (Barton, it seems) and a "bad wrestler" (Charlie) who "confront" each other at the end. But in typical Coen fashion, the lines of good and evil are blurred, and the supposed hero in fact reveals himself to be deaf to the pleadings of his "common man" neighbor. By blurring the lines between reality and surreal experience, the film subverts the "simple morality tales" and "road maps" offered to Barton as easy paths for the writer to follow.[109]

However, the film-makers point out that Barton Fink is not meant to represent the Coens themselves. "Our life in Hollywood has been particularly easy", they once said. "The film isn't a personal comment".[110] Still, universal themes of the creative process are explored throughout the film. During the picnic scene, for example, Mayhew asks Barton: "Ain't writin' peace?" Barton pauses, then says: "No, I've always found that writing comes from a great inner pain."[111] Such exchanges led critic William Rodney Allen to call Barton Fink "an autobiography of the life of the Coens' minds, not of literal fact". Allen's comment is itself a reference to the phrase "life of the mind", used repeatedly in the film in wildly differing contexts.[75]

Fashizm

Several of the film's elements, including the setting at the start of Ikkinchi jahon urushi, have led some critics to highlight parallels to the rise of fashizm vaqtida. For example, the detectives who visit Barton at the Hotel Earle are named "Mastrionatti" and "Deutsch"[112] – Italian and German names, evocative of the regimes of Benito Mussolini va Adolf Gitler. Their contempt for Barton is clear: "Fink. That's a Jewish name, isn't it? ... I didn't think this dump was restricted."[113] Later, just before killing his last victim, Charlie says: "Xeyl Gitler ".[114] Jack Lipnick hails originally from the Belorussiya Poytaxt shahar Minsk, which was occupied from 1941 by Natsistlar Germaniyasi, quyidagi Barbarossa operatsiyasi.[115]

"[I]t's not forcing the issue to suggest that Holokost hovers over Barton Fink", writes biographer Ronald Bergan.[52] Others see a more specific message in the film, particularly Barton's obliviousness to Charlie's homicidal tendencies. Tanqidchi Rojer Ebert wrote in his 1991 review that the Coens intended to create an allegory for the rise of Natsizm. "They paint Fink as an ineffectual and impotent left-wing intellectual, who sells out while telling himself he is doing the right thing, who thinks he understands the 'common man' but does not understand that, for many common men, fascism had a seductive appeal". However, he goes on to say: "It would be a mistake to insist too much on this aspect of the movie...."[116]

Other critics are more demanding. M. Keith Booker writes:

Fink's failure to "listen" seems intended to tell us that many leftist intellectuals like him were too busy pursuing their own selfish interests to effectively oppose the rise of fascism, a point that is historically entirely inaccurate ... That the Coens would choose to level a charge of irresponsibility against the only group in America that actively sought to oppose the rise of fascism is itself highly irresponsible and shows a complete ignorance of (or perhaps lack of interest in) historical reality. Such ignorance and apathy, of course, are typical of postmodern film....[47]

For their part, the Coens deny any intention of presenting an majoziy xabar. They chose the detectives' names deliberately, but "we just wanted them to be representative of the Axis world powers vaqtida. It just seemed kind of amusing. It's a tease. All that stuff with Charlie – the "Heil Hitler!" business – sure, it's all there, but it's kind of a tease."[60] In 2001, Joel responded to a question about critics who provide extended comprehensive analysis: "That's how they've been trained to watch movies. In Barton Fink, we may have encouraged it – like teasing animals at the zoo. The movie is intentionally ambiguous in ways they may not be used to seeing".[117]

Qullik

Although subdued in dialogue and imagery, the theme of qullik appears several times in the film. Mayhew's crooning of the xonaning qo'shig'i "Old Black Joe" depicts him as enslaved to the film studio, not unlike the song's narrator who pines for "my friends from the cotton fields away".[118] One brief shot of the door to Mayhew's workspace shows the title of the film he is supposedly writing: Qul kemasi. Bu havola a 1937 movie written by Mayhew's inspiration, William Faulkner, and starring Wallace Beery, for whom Barton is composing a script in the film.[118]

The symbol of the slave ship is furthered by specific set designs, including the round window in Ben Geisler's office which resembles a illyuminator, as well as the walkway leading to Mayhew's bungalow, which resembles the boarding ramp of a watercraft.[118] Several lines of dialogue make clear by the film's end that Barton has become a slave to the studio: "[T]he contents of your head", Lipnick's assistant tells him, "are the property of Capitol Pictures".[119] After Barton turns in his script, Lipnick delivers an even more brutal punishment: "Anything you write will be the property of Capitol Pictures. And Capitol Pictures will not produce anything you write".[120] This contempt and control is representative of the opinions expressed by many writers in Hollywood at the time.[118][121] Sifatida Artur Miller uning sharhida aytilgan Barton Fink: "The only thing about Hollywood that I am sure of is that its mastication of writers can never be too wildly exaggerated".[122]

"Oddiy odam"

During the first third of the film, Barton speaks constantly of his desire to write work which centers on and appeals to "the common man". In one speech he declares: "The hopes and dreams of the common man are as noble as those of any king. It's the stuff of life – why shouldn't it be the stuff of theater? God damn it, why should that be a hard pill to swallow? Don't call it yangi theater, Charlie; qo'ng'iroq qiling haqiqiy teatr. Call it bizning theater."[123] Yet, despite his rhetoric, Barton is totally unable (or unwilling) to appreciate the humanity of the "common man" living next door to him.[123] Later in the film, Charlie explains that he has brought various horrors upon him because "you don't listen!"[124] In his first conversation with Charlie, Barton constantly interrupts Charlie just as he is saying "I could tell you some stories-", demonstrating that despite his fine words he really is not interested in Charlie's experiences; in another scene, Barton symbolically demonstrates his deafness to the world by stuffing his ears with cotton to block the sound of his ringing telephone.[125]

Barton's position as screenwriter is of particular consequence to his relationship with "the common man". By refusing to listen to his neighbor, Barton cannot validate Charlie's existence in his writing – with disastrous results. Not only is Charlie stuck in a job which demeans him, but he cannot (at least in Barton's case) have his story told.[126] More centrally, the film traces the evolution of Barton's understanding of "the common man": At first he is an abstraction to be lauded from a vague distance. Then he becomes a complex individual with fears and desires. Finally he shows himself to be a powerful individual in his own right, capable of extreme forms of destruction and therefore feared and/or respected.[127]

The complexity of "the common man" is also explored through the oft-mentioned "life of the mind". While expounding on his duty as a writer, Barton drones: "I gotta tell you, the life of the mind ... There's no road map for that territory ... and exploring it can be painful. The kind of pain most people don't know anything about."[128] Barton assumes that he is privy to thoughtful creative considerations while Charlie is not. This delusion shares the film's climax, as Charlie runs through the hallway of the Earle, shooting the detectives with a shotgun and screaming: "Look upon me! I'll show you the life of the mind!!"[129] Charlie's "life of the mind" is no less complex than Barton's; in fact, some critics consider it more so.[130]

Charlie's understanding of the world is depicted as omniscient, as when he asks Barton about "the two lovebirds next door", despite the fact that they are several doors away. When Barton asks how he knows about them, Charlie responds: "Seems like I hear everything that goes on in this dump. Pipes or somethin'."[131] His total awareness of the events at the Earle demonstrate the kind of understanding needed to show real empathy, as described by Audrey. This theme returns when Charlie explains in his final scene: "Most guys I just feel sorry for. Yeah. It tears me up inside, to think about what they're going through. How trapped they are. I understand it. I feel for 'em. So I try to help them out."[132][133]

Din

Themes of religious salvation and allusions to the Injil appear only briefly in Barton Fink, but their presence pervades the story. While Barton is experiencing his most desperate moment of confusion and despair, he opens the drawer of his desk and finds a Gideon Injili. He opens it "randomly" to Chapter 2 in the Book of Daniel, and reads from it: "And the king, Nebuchadnezzar, answered and said to the Chaldeans, I recall not my dream; if ye will not make known unto me my dream, and its interpretation, ye shall be cut in pieces, and of your tents shall be made a dunghill."[134] This passage reflects Barton's inability to make sense of his own experiences (wherein Audrey has been "cut in pieces"), as well as the "hopes and dreams" of "the common man".[74] Navuxadnazar is also the title of a novel that Mayhew gives to Barton as a "little entertainment" to "divert you in your sojourn among the Philistines".[135]

Mayhew alludes to "the story of Solomon's mammy", a reference to Bathsheba, kim tug'di Sulaymon after her lover Dovud had her husband Uriya o'ldirilgan. Although Audrey cuts Mayhew off by praising his book (which Audrey herself may have written), the reference foreshadows the love triangle which evolves among the three characters of Barton Fink. Rowell points out that Mayhew is murdered (presumably by Charlie) soon after Barton and Audrey have sex.[136] Another Biblical reference comes when Barton flips to the front of the Bible in his desk drawer and sees his own words transposed into the Ibtido kitobi. This is seen as a representation of his hubris as a self-conceived omnipotent master of creation, or alternatively, as a playful juxtaposition demonstrating Barton's hallucinatory state of mind.[136]

Qabul qilish

Kassalarning ishlashi

The film opened in the United States on eleven screens on August 23, 1991, and earned $268,561 during its opening weekend. During its theatrical release, Barton Fink grossed $6,153,939 in the United States.[137] That the film failed to recoup the expenses of production amused film producer Joel Silver, with whom the Coens would later work in Hudsucker ishonchli vakili (1994): "I don't think it made $5 million, and it cost $9 million to make. [The Coen brothers have] a reputation for being weird, off-center, inaccessible."[138]

Tanqidiy qabul

Barton Fink tanqidchilar tomonidan ijobiy baholashlar oldi. Yoqilgan Rotten Tomatoes, the film has a 90% "Certified Fresh" rating, based on 58 reviews, with an average rating of 7.65/10. The site's critical consensus reads: "Twisty and unsettling, the Coen brothers' satirical tale of a 1940s playwright struggling with writer's block is packed with their trademark sense of humor and terrific performances from its cast."[139] Yoqilgan Metakritik, the film has a score of 69 out of 100, based on 19 critics, indicating "generally favorable reviews".[140]

Washington Post critic Rita Kempley described Barton Fink as "certainly one of the year's best and most intriguing films".[141] The New York Times tanqidchi Vinsent Kanbi called it "an unqualified winner" and "a fine dark comedy of flamboyant style and immense though seemingly effortless technique".[142] Critic Jim Emerson called Barton Fink "the Coen brothers' most deliciously, provocatively indescribable picture yet".[143]

Some critics disliked the abstruse plot and deliberately enigmatic ending. Chikago o'quvchisi tanqidchi Jonathan Rozenbaum warned of the Coens' "adolescent smarminess and comic-book cynicism", and described Barton Fink as "a midnight-movie gross-out in Sunday-afternoon art-house clothing".[144]

In a 1994 interview, Joel dismissed criticism of unclear elements in their films: "People have a problem dealing with the fact that our movies are not straight-ahead. They would prefer that the last half of Barton Fink just be about a screenwriter's writing-block problems and how they get resolved in the real world".[145] Tok-shou boshlovchisi Larri King expressed approval of the movie, despite its uncertain conclusion. U yozgan USA Today: "The ending is something I'm still thinking about and if they accomplished that, I guess it worked."[146] In a 2016 interview, screenwriter Charli Kaufman said after being asked which film he would want with him on a deserted island, "A movie I really love is Barton Fink. I don't know if that’s the movie I'd take to a desert island, but I feel like there's so much in there, you could watch it again and again. That's important to me, especially if that was the only movie I'd have with me for the rest of my life."[147]

Barton Fink was ranked by Greg Cwik of IndieWire as the Coens' fifth best film.[148] It was voted the 11th best film of the 1990s in a poll of A.V. Klub contributors, and was described as "one of [the Coens'] most profound, and painful" works.[149]

Mukofotlar va nominatsiyalar

Barton Fink premiered in May 1991 at the 1991 yil Kann kinofestivali. Beating competition which included Jak Rivette "s La Belle Noiseuse, Spike Li "s O'rmon isitmasi va Devid Mamet "s Qotillik, the Coen brothers' film won three awards: Best Director, Best Actor, and the top prize Palma d'Or.[150] This sweep of awards in major categories at Cannes was extremely rare, and some critics felt the jury was too generous to the exclusion of other worthy entries.[151] Worried that the triple victory could set a precedent which would undervalue other films, Cannes decided after the 1991 festival to limit each movie to a maximum of two awards.[151]

Barton Fink shuningdek, uch nomzodga nomzod bo'lgan Oskar mukofotlari: Ikkinchi darajadagi eng yaxshi aktyor (Lerner), Eng yaxshi badiiy yo'nalish (Dennis Gassner, Nensi Xayg ) va Eng yaxshi kostyum dizayni (Richard Hornung).[152] Lerner lost to Jek Palans for the latter's role in City Slickers; the awards for Art Direction (Gassner and Haigh won by beating themselves) and Costume Design went to Xato.[153]

The film was also nominated for the prestigious Gran-pri ning Belgian Syndicate of Cinema Critics.[154]

Formatlar

The film was released in VHS home video format on March 5, 1992,[155] and a DVD edition was made available on May 20, 2003. The DVD contains a gallery of still photos, theatrical trailers, and eight deleted scenes.[156] Shuningdek, filmni ushbu sayt orqali tomosha qilish mumkin Blu-ray disk, in the UK, in a region-free format that will work in any Blu-ray player.[157]

Mumkin davomi

The Coen brothers have expressed interest in making a davomi ga Barton Fink deb nomlangan Old Fink, which would take place in the 1960s. "Bu sevgi yozi and [Fink is] teaching at Berkli. He ratted on a lot of his friends to the Amerika Qo'shma Shtatlari faoliyati qo'mitasi ", said Joel Coen. The brothers have stated that they have had talks with John Turturro about reprising his role as Fink, but they were waiting "until he was actually old enough to play the part".[158]

Gapirish A.V. Klub in June 2011, Turturro suggested the sequel would be set in the 1970s, and Fink would be a hippi katta bilan Jewfro. He said "you'll have to wait another 10 years for that, at least".[159]

Adabiyotlar

  1. ^ "BARTON FINK (15)". Rank Film Distribyutorlari. Britaniya filmlarini tasniflash kengashi. 1991 yil 27 avgust. Olingan 12 avgust, 2013.
  2. ^ a b v d Ciment and Niogret, p. 176.
  3. ^ Bergan, pp. 114–115.
  4. ^ See for example Rowell, p. 104 va Rita Kempley's review yilda Washington Post.
  5. ^ a b v Ciment and Niogret, p. 172.
  6. ^ Bergan, p. 115.
  7. ^ Allen, p. 60.
  8. ^ Quoted in Bergan, p. 140.
  9. ^ Quoted in Bergan, p. 130. As a number of critics and journalists have noted, Joel and Ethan sometimes finish each other's sentences. (Actress Kelli Makdonald said in a featurette on the DVD of Qariyalar uchun mamlakat yo'q that they seem like "one person with two heads".) Thus many quotes in the Bergan biography are attributed to "the Coens".
  10. ^ a b v Bergan, p. 130.
  11. ^ Ciment and Niogret, p. 177.
  12. ^ Quoted in Bergan, p. 115. Note the singular "brain" despite the plural possessive pronoun.
  13. ^ Quoted in Bergan, p. 131.
  14. ^ Ciment and Niogret, p. 180; Bergan, pp. 138–139.
  15. ^ a b Bergan, pp. 140–141.
  16. ^ Quoted in Bergan, p. 139.
  17. ^ Ciment and Niogret, p. 191.
  18. ^ Yuan, Jada. "Roderick Jaynes, Imaginary Oscar Nominee for 'No Country'" Arxivlandi 2008 yil 13 may, soat Orqaga qaytish mashinasi Nyu-York Ko'ngilochar. 2008 yil 22-yanvar. Nyu York jurnal. Retrieved on November 20, 2008. The introduction to the screenplay book for Barton Fink was written by "Roderick Jaynes"; in a satirical preview, it calls the plot "crushingly tedious".
  19. ^ Ciment and Niogret, pp. 179–180.
  20. ^ a b v d e f Ciment and Niogret, p. 179.
  21. ^ Rowell, p. 113; Palmer, pp. 124–125.
  22. ^ a b Rowell, p. 124.
  23. ^ Coen and Coen, p. 14.
  24. ^ Coen and Coen, p. 92.
  25. ^ Rowell, p. 131.
  26. ^ a b v Rowell, p. 130.
  27. ^ Coen and Coen, p. 128.
  28. ^ Ciment and Niogret, pp. 172–173.
  29. ^ a b v Ciment and Niogret, p. 175.
  30. ^ Rowell, p. 109.
  31. ^ Coen and Coen, pp. 132–133.
  32. ^ Ciment and Niogret, pp. 174–175.
  33. ^ Dunne, pp. 308–309.
  34. ^ Xau, Desson. "Barton Fink". Washington Post. August 23, 1991. The Washington Post Company. Qabul qilingan 2008 yil 20-noyabr.
  35. ^ a b Rowell, p. 112.
  36. ^ Booker, pp. 144–145.
  37. ^ "'Fargo' Recap: Motel California". Rolling Stone. 2017 yil 4-may. Olingan 6 may, 2017.
  38. ^ "'Fargo' Season 3, Episode 3 Recap: The Yanagita Effect". The New York Times. 2017 yil 3-may. Olingan 6 may, 2017.
  39. ^ "Gloriya Fargo yuqori nuqtasi uchun Gollivudga yo'l oldi". A.V. Klub. 2017 yil 3-may. Olingan 6 may, 2017.
  40. ^ "Fargo Recap: La La Land". Vulture. 2017 yil 3-may. Olingan 6 may, 2017.
  41. ^ Ciment and Niogret, pp. 159–168.
  42. ^ Rowell, p. 99.
  43. ^ a b Allen, p. 56.
  44. ^ Rowell, p. 106.
  45. ^ Palmer, p. 119.
  46. ^ Lyons, p. 85.
  47. ^ a b Booker, p. 144.
  48. ^ Palmer, p. 107. Emphasis is in Palmer; he does not indicate if it is original or added.
  49. ^ Palmer, p. 108.
  50. ^ a b Rowell, p. 117.
  51. ^ Rowell, p. 129.
  52. ^ a b Bergan, p. 44.
  53. ^ Dunne, p. 306.
  54. ^ Dunne, pp. 306–307.
  55. ^ Rowell, pp. 107–109.
  56. ^ Rowell, p. 111.
  57. ^ Rowell, p. 116.
  58. ^ a b Rowell, p. 115.
  59. ^ Lyons, p. 128.
  60. ^ a b Allen, p. 94.
  61. ^ Allen, p. 58.
  62. ^ Rowell, p. 129. She notes that Barton's reply is also sexual: "Okay. A quick one".
  63. ^ Allen, p. 179.
  64. ^ Rowell, p. 123.
  65. ^ a b v Rowell, p. 122.
  66. ^ a b Allen, p. 59.
  67. ^ Coen and Coen, p. 69.
  68. ^ Rowell, p. 121. In an elaborate dissection, she suggests that the mosquito "helps convey the congenital iffyness of 'reality' in fiction". She also notes a similarity to the unlikely presence of flies in a businessman's "airtight" office in Arizonani ko'tarish.
  69. ^ Ciment and Niogret, p. 189.
  70. ^ "Fargo/Barton Fink Soundtrack". Amazon.com. 2006. Olingan 21 avgust, 2014.
  71. ^ Rowell, pp. 126–127.
  72. ^ Lyons, p. 127; Rowell, p. 125.
  73. ^ Rowell, p, 128. She'rning mazmuni ham Mayxuning turli sabablarga ko'ra yozishga qodir emasligi yoki xohlamasligi bilan "Jim" rassom sifatidagi holatini aks ettiradi.
  74. ^ a b v Rowell, p. 125.
  75. ^ a b Allen, p. xv.
  76. ^ Booker, p. 143. Shuningdek qarang: Dunne, p. 310.
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  78. ^ Palmer, 114-116 betlar.
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  81. ^ Rowell, p. 125. Uning ta'kidlashicha, Odets "deb e'lon qilingan The New York Times u eng iste'dodli dramaturg edi ".
  82. ^ Palmerda keltirilgan, p. 119.
  83. ^ Palmer, 116–117 betlar.
  84. ^ Bergan, p. 137.
  85. ^ Palmer, 115-116-betlar.
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  91. ^ Allen, p. 145.
  92. ^ Allen, p. 56; Palmer, p. 110.
  93. ^ Allen, p. xv; Rowell, 122–123 betlar.
  94. ^ Bergan, 137-138-betlar.
  95. ^ Bergan, p. 134.
  96. ^ Bergan, p. 141.
  97. ^ Rowell, 108-110 betlar.
  98. ^ Peyser, Tom (2003 yil 19-iyun). "Oziq-ovqat mahsuloti uchun Épater les Bourgeois: Piter Sellars xaridor qidirmoqda". aql-idrok.
  99. ^ Rowell, p. 106; Palmer, p. 119.
  100. ^ Rowell, p. 131.
  101. ^ Uydagi video nashrlarda o'chirilgan sahna sifatida kiritilgan.
  102. ^ Rowell, p. 106.
  103. ^ Coen va Coen, p. 128. Asl urg'u.
  104. ^ Palmerda keltirilgan, p. 126.
  105. ^ a b Palmer, 121-122 betlar.
  106. ^ Palmer, 117-119 betlar; Rowell, p. 107; Bergan, p. 133.
  107. ^ Palmer, 117-119 betlar. U qo'shimcha qiladi: "G'arbning g'oyalaridan katta qarz olish paytida, Barton Fink romanchi tanqidini sezilarli darajada kengaytiradi ".
  108. ^ Rowell, p. 108. U yozadi: "Audreyning boshi ... uning buzuqiga aylandi muz ".
  109. ^ Rowell, 108-109 betlar.
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  111. ^ Coen va Coen, p. 56.
  112. ^ Coen va Coen, p. 102.
  113. ^ Coen va Coen, p. 106.
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  115. ^ Rowell, p. 132.
  116. ^ Ebert, Rojer (1991 yil 23-avgust). "Sharhlar: Barton Fink". Chikago Sun Times. Olingan 4 dekabr, 2008.
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  120. ^ Coen va Coen, p. 129.
  121. ^ Dunne, p. 305.
  122. ^ Dunnda keltirilgan, p. 309.
  123. ^ a b Coen va Coen, p. 32. Asl urg'u.
  124. ^ Coen va Coen, p. 124. Asl nusxadagi barcha bosh harflar va undov belgisi.
  125. ^ Dunne, p. 308.
  126. ^ Palmer, p. 118.
  127. ^ Palmer, p. 121 2.
  128. ^ Coen va Coen, p. 49. "Aql hayoti" iborasi hozircha ssenariyda ko'rinmaydi, lekin filmda aytiladi. Ssenariyda Bartonning agenti Garland bilan birinchi suhbati paytida ushbu ibora mavjud, ammo u filmga kiritilmagan.
  129. ^ Coen va Coen, p. 120. Bosh harflar va bir nechta undovlar asl matnda.
  130. ^ Palmer, p. 127; Rowell, p. 135.
  131. ^ Coen va Coen, p. 65.
  132. ^ Rowell, p. 135.
  133. ^ Coen va Coen, p. 123.
  134. ^ Coen and Coen, p, 100. Ushbu ibora biroz farq qiladi King James matn.
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  143. ^ Allen, p. 55.
  144. ^ Rozenbaum, Jonatan. "Filmlar: Barton Fink". Chikago o'quvchisi. Olingan 9 dekabr, 2008.
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Manbalar

  • Allen, Uilyam Rodni, tahrir. Coen Brothers: intervyular. Jekson: Missisipi universiteti matbuoti, 2006 yil. ISBN  1-57806-889-4.
  • Bergan, Ronald. Coen birodarlar. Nyu-York: Thunder's Mouth Press, 2000 yil. ISBN  1-56025-254-5.
  • Booker, M. Keyt. Postmodern Gollivud: Filmdagi yangiliklar va nega bizni g'alati his qilishimizga olib keladi. Westport, Konnektikut: Praeger Publishers, 2007 yil. ISBN  0-275-99900-9.
  • Tsiment, Mishel va Hubert Niogret. "Coen Brothers bilan suhbatlashdi". Trans. R. Barton Palmer. Palmerda R. Barton. Joel va Ethan Coen. Urbana: Illinoys universiteti matbuoti, 2004 yil. ISBN  0-252-07185-9. 159–192 betlar.
  • Coen, Joel va Ethan Coen. Barton Fink va Millerning o'tish joyi. London: Faber va Faber, 1991 yil. ISBN  0-571-16648-2.
  • Dunne, Maykl. "Barton Fink, intertekstuallik va (deyarli) tomosha qilishning chidab bo'lmas boyligi". Adabiyot / Film har chorakda 28.4 (2000). 303-311 betlar.
  • Lyons, Donald. Mustaqil Vizyonlar: So'nggi mustaqil Amerika filmiga tanqidiy kirish. Nyu-York: Ballantin kitoblari, 1994 y. ISBN  0-345-38249-8.
  • Palmer, R. Barton. Joel va Ethan Coen. Urbana: Illinoys universiteti matbuoti, 2004 yil. ISBN  0-252-07185-9.
  • Rowell, Erika. Birodarlar Grim: Etan va Djoel Koenning filmlari. Lanham, Merilend: The Scarecrow Press, Inc., 2007 yil. ISBN  0-8108-5850-9.

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