Larry Gopnik (Michael Stuhlbarg) is one serious man in underrated Coen brothers film
A SERIOUS MAN (Joel & Ethan Coen, 2009)
Film Forum
209 West Houston St.
Monday, February 1, 3:00 & 7:30
Series runs January 28 – February 4
212-727-8110
filmforum.org
focusfeatures.com
The Coen brothers take their unique brand of dry, black comedy to a whole new level with A Serious Man. Poor Larry Gopnik (a remarkably even-keeled Michael Stuhlbarg) just keeps getting dumped on: His wife, Judith (Sari Lennick), wants to leave him for, of all people, touchy-feely Sy Ableman (Fred Melamed); his brother, Arthur (Richard Kind), keeps hogging the bathroom so he can drain his cyst; his son, Danny (Aaron Wolf), won’t stop complaining that F-Troop isn’t coming in clearly and is constantly on the run from the school drug dealer (Jon Kaminsky Jr.); his daughter, Sarah (Jessica McManus), wants to get a nose job; one of his students (David Kang) has bribed him for a passing grade; his possible tenure appears to be in jeopardy; and he gets no help at all from a series of funnier and funnier rabbis. But Larry keeps on keepin’ on in the Jewish suburbs of Minnesota in 1967, trying to make a go of it as his woes pile higher and higher. Joel and Ethan Coen have crafted one of their best tales yet, nailing the look and feel of the era, from Hebrew school to Bar Mitzvah practice, from office jobs to parking lots, from the Columbia Record Club to transistor radios, from television antennas to the naked neighbor next door. The Coens get so many things right, you won’t mind the handful of mistakes in the film, and because it’s the Coens, who’s to say at least some of those errors weren’t intentional? A Serious Man is a seriously great film, made by a pair of seriously great filmmakers. And while you don’t have to be Jewish and from Minnesota to fall in love with it, it sure can’t hurt.
The Coen brothers will be at Film Forum to kick off retrospective
A Serious Man is screening at Film Forum on February 1 as part of a week-long tribute to Joel and Ethan, consisting of most of their older movies and a pair of film-related concert documentaries, leading up to a sneak preview of their latest, Hail, Caesar! For more than thirty years, the Coens have been capturing the American zeitgeist like no one else, penetrating deep into the psyche of the country, doing so in a wide variety of genres. The series skips over Intolerable Cruelty, The Ladykillers, and Burn After Reading, but the rest of their oeuvre is present and accounted for, from the creepy, atmospheric Blood Simple and Barton Fink to the mad humor of The Hudsucker Proxy and Raising Arizona, from the brutal Westerns No Country for Old Men and True Grit to the gangster picture Miller’s Crossing, in addition to their cult masterpiece, The Big Lebowski. Things get going on January 28 with the beautifully elegant Fargo, followed by a Q&A with Joel and Ethan. D. A. Pennebaker, Chris Hegedus, and Nick Doob will be at Film Forum on February 3 for a showing of their concert film Down from the Mountain, featuring the music from O Brother, Where Art Thou?
French stage and opera director Patrice Chéreau made an offbeat choice for his debut film, deciding to adapt British thriller writer James Hadley Chase’s The Flesh of the Orchid, the 1948 sequel to his first novel, 1939’s No Orchids for Miss Blandish, which had been made into a 1948 film by St. John Legh Clowes considered to be one of the worst movies ever. So it’s little surprise that The Flesh of the Orchid is a dark and gloomy, not wholly successful, both tantalizing and frustrating tale of lust and greed. Following up her controversial role in Liliana Cavani’s The Night Porter, the exquisite Charlotte Rampling stars as Claire, a mentally unbalanced heiress who has a penchant for blinding men who attempt to have sex with her. But she takes an odd liking to Louis Delage (Bruno Cremer), a man with financial problems who is on the run after witnessing a murder committed by a pair of cold-blooded killers, brothers Gyula and Joszef Berekian (Hans Christian Blech and François Simon). Meanwhile, Claire’s aunt, the elegant, très chic Madame Wegener (Edwige Feuillère), and her ne’er-do-well son, Arnaud (Rémy Germain), are hot on her trail as well, determined to lock her away again so they can get their hands on the family money.
The extraordinary story of nineteenth-century Jewish-American Renaissance Man Solomon Nunes Carvalho is told in the beautiful documentary Carvalho’s Journey. Born in Charleston, South Carolina, the Jewish cultural center of the U.S. in 1815, Carvalho was a painter, daguerreotypist, inventor, philosopher, husband, father, and practicing Jew. In 1853, Mathew Brady recommended him to explorer John C. Frémont, who was looking for a photographer to document his fifth and final Westward Expedition. So Carvalho brought his bulky equipment and set out to do what no one had done before, take pictures of a vast and treacherous landscape, a journey that would risk the lives of everyone involved as Frémont searched for a railroad route through the Rocky Mountains. Along the way, Carvalho never lost sight of his faith and his deep love for his wife, Sarah Miriam, as evidenced by the detailed, poetic letters he wrote her in addition to his 1857 memoir, Incidents of Travel and Adventure in the Far West. “With few men, religion is a color, a lifeless, abstract notion, but abstraction is not pure religion. Religion must signify itself in our actions in life. Aye, it must embrace the whole sphere of our activities and affections,” Carvalho, voiced by Josh Hamilton in the film, wrote. Historian David Oestreicher explains, “He was very proud of who he was, but at the same time he was a proud American; he saw the promise of America. I believe that he was being a good American by exercising his right to openly belong to his people. I don’t think he saw a conflict there.”
Romanian director Radu Jude won the Silver Bear as Best Director at the 2015 Berlin International Film Festival for Aferim!, his savagely funny blacker-than-black comic Western about bigotry, infidelity, and frontier justice in 1835 Wallachia. Lawkeeper Costandin (Teodor Corban) and his son, Ionitā (Mihai Comānoiu), are galloping through the local countryside, searching for runaway Gypsy slave Carfin (Cuzin Toma), who Boyar Iordache Cindescu (Alexandru Dabija) has accused of having an affair with his wife, Sultana (Mihaela Sîrbu). The surly Costandin leads the hunt, verbally cutting down everyone he meets, from random old women to abbots to fellow lawmen, with wicked barbs, calling them filthy whores, crows, and other foul names while spouting ridiculous theories about honor and religion; he even batters his son, saying he’s “a waste of bread” and that “if you slap him, he’ll die of grief.” It’s a cruel, cholera-filled time in which even the monks beat the poor, where Costandin regales a priest with the telling riddle, “Lifeless out of life, life out of lifeless,” which the priest thinks refers to the coming doomsday.
The twenty-fifth annual New York Jewish Film Festival gets under way January 13 with a look at a little-known part of the U.S. propaganda effort during WWII. In Projections of America, director Peter Miller details how the U.S. Office of War Information used specially made short documentary films to show the rest of the world the positive aspects of the American way of life, particularly as U.S. soldiers helped liberate many cities and countries in Eastern and Western Europe. “The films were idealized versions of what America could be, created by politically engaged filmmakers who, while fighting tyranny abroad, wanted also to fundamentally change America itself,” narrator John Lithgow explains. At the center of it all was Oscar-winning screenwriter Robert Riskin, who had written eight Frank Capra films, including It Happened One Night, Mr. Deeds Goes to Town, and Meet John Doe. Riskin, fellow scribe and chief of production Philip Dunne (How Green Was My Valley, The Ghost and Mrs. Muir), and Pulitzer Prize-winning playwright, screenwriter, and FDR speech writer Robert E. Sherwood (The Petrified Forest, Abe Lincoln in Illinois) enlisted such directors and producers as John Houseman and Josef von Sternberg and such stars as Ingrid Bergman in making such short propaganda films as Swedes in America, Cowboys, Steel Town, The Valley of the Tennessee, and Watchtower over America, which people flocked to in Europe, North Africa, and even Germany. “It all came together as the greatest collection of filmmakers working toward one common goal that we will ever see,” notes film historian Cecile Starr.