Homeless, aimless and detached singer, Llewyn Davis, is trying to break into the 1960’s folk scene just prior to the Dylan-days. But without really knowing where he’s going, how he’s getting there or even where he’s sleeping that night, we follow a meandering week in the life of the struggling sofa-surfer in this deadpan elliptical narrative.
In other words…
A week in the life of a depressed musical hobo.
The main men and leading ladies…
It’s difficult to fault Oscar Isaac’s run down and despondent portrayal of Davis as he suffers the loss of his singing partner, and in turn, loss of any sort of direction in his life. As he roams from one unsuccessful situation to another, we grow closer to his accepting and gentle persona. Isaac, who also featured in Drive and Sucker Punch, performed each of his songs live, but while those were the capturing moments don’t try and pretend 'Please Mr Kennedy' isn’t a classic waiting to happen.
Smaller roles came from Carey Mulligan as a bitter ball of anger, Justin Timberlake as the painfully chirpy Mr Nice Guy and Adam Driver who seemed to have stepped straight off the set of Girls and still stayed in character.
In the chair…
Inside Llewyn Davis is not a typical Coen Brothers epic, in fact A Serious Man is as close a comparison you could make, but as ever their attention to detail continues to impress. The cold colours, winter setting and hostile atmosphere makes it a naturally uncomfortable viewing experience - but the witty script, engaging performances and fine attention to even the smallest of subjects makes this yet another satisfying Coen Brothers journey. Overlooked for the major Academy Awards it’s disappointing for the duo, but maybe that’s simply because it doesn’t live up to the likes of O Brother Where Art Thou? or Burn After Reading.
So…?
Not much happens. In fact so little happens a sub plot about Davis' involuntary cat-sitting soon becomes the only plot. Typical of an exhausted artist desperately trying to cut it in the business; the lack of plot reflects the lack of direction in Davis’ life. But any unfulfillment you draw from that cleverly mirrors the emotions the singer is experiencing. Davis annoys just about everyone he comes into contact with, but as more people put him down, the more you start to sympathise with him. And despite the film’s cold atmosphere, the warm and engaging performances make it a memorable journey.
Worth the money?
If you appreciate well written scripts, excellent acting and troubled characters more than a clear direction and strong plot, then yes.
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