The beauty of Emmanuel Lubezki's cinema

by Cláudio Alves

Before saying goodbye to our celebration of 2005, we must finish our look back at that year's Best Cinematography nominees. First up, we talked about the chromatic madness of Dion Beebe. Then, there were Rodrigo Prieto's cinematic elegance, the steely coldness of Wally Pfister's movies, and Robert Elswit's wide-angled wonders. Finally, we arrive at Emmanuel Lubezki, one of the past decades' most influential directors of photography. His free-flying camera movements, the masterful of natural lighting, and control of color are beyond description, so great is their beauty. No wonder AMPAS has fallen in love with the cinema of Emmanuel Lubezki, giving him eight nominations overall and three consecutive wins…

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The Furniture: Barton Fink and the Common Man's Wallpaper

Daniel Walber's series on Production Design. Click on the images to see them in magnified detail.

What is the wallpaper of the Common Man? It’s a strange question, but Barton Fink is a strange movie. The titular writer (John Turturro) is a man consumed by passion for the clichéd unsung hero, though he would never go so far as to actually ask a Common Man what he thinks. His obsession is really with the idea of the Common Man, abstract and waiting to be tossed onstage or slapped onto the blank canvas of a movie screen.

In his defense, the Common Man was not yet a cliche when Fink arrived in Hollywood, sometime in 1941. Henry Wallace’s famous “Century of the Common Man” speech wouldn’t be delivered until May of 1942, inspiring Aaron Copland to write his “Fanfare for the Common Man” soon after. Maybe someday the Coen Brothers will make a sequel, and Barton will take the opportunity to claim credit for both of those cultural landmarks.

But back to wallpaper. Barton Fink opens with a close-up of it, a pleasant sort of floral-Deco pattern in mild colors...

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1991: Judy Davis in "Barton Fink" and "Naked Lunch"

Before each Smackdown, Nick Taylor looks at possibilities for an alternate ballot...

Barton Fink and Naked Lunch are two 1991 films with more in common than you'd expect. Both follow writers - one a lifelong devotee of the trade, one quite new to it - who are suddenly plucked from their old lives and dropped into entirely alien worlds, with few reliable sources to guide them. Both tackle the incredibly mundane ache of loneliness and toil of their work, albeit against obstacles like axe murderers and global drug conspiracies. Both are directed by major auteurs and styled to the fucking nines, making their settings as accessible as they need to be while fulfilling some impenetrably strange narrative conceits. And both serve as vivid showcases for the talents of Judy Davis, 1991’s NYFCC winner for Best Supporting Actress, who unfussily acquits herself to two very different, aesthetically demanding milieus. Her brainy, abrasive persona and preternatural expressiveness are cannily utilized in both films, and Davis emerges as an essential element of their respective successes despite her minimal screen time...

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The best-looking Coen flicks

by Cláudio Alves

The Coen brothers are some of the most acclaimed American directors of our days. While many celebrate their ability with witty dialogues and violent storylines, a worldview rich in irony and nihilism, parts of their cinematic genius remain a bit underrated. For instance, their works are always beautiful, carefully composed and shot, full of inspired design choices and homages to the classicism of Old Hollywood filmmaking. Few would put them in the same ballpark as contemporary directors like Luhrmann or del Toro when it comes to the consistent creation of lush visual feasts, but maybe we should reconsider that…

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Ten Years of "A Serious Man"

by new contributor Michael Frank

The Coen brothers have always been masters of crafting a world the audience vaguely understands, but has never experienced. They create characters that are utterly ridiculous, acutely specific, yet still relatable to the common audience member. After 10 years, their dark comedy A Serious Man holds up better than even they could have imagined. It’s a twisted laughfest that agonizes and tickles for a wildly enjoyable 100 minutes. 

A Serious Man isn’t a movie that I’ve rewatched time and time again. It’s one I’ve jumped in and out of over the last 10 years, seeing a snippet here, a snippet there. If you jump into any part of the film, the atmosphere is always the same. You’re quick to realize the plight of Larry Gopnik, and the rapid shrinking of his happiness...

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