Barton Fink 1991 R CC

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(178) IMDb 7.8/10
Available in HD

New York intellectual Barton Fink comes to Hollywood in 1941 to write a screenplay, but he soon finds himself with a severe case of writer's block as a bizarre sequence of events distracts him from his task.

Starring:
John Turturro, John Goodman
Runtime:
1 hour 57 minutes

Available in HD on supported devices.

Barton Fink

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Barton Fink

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Product Details

Genres Drama, Mystery
Director Joel Coen, Ethan Coen
Starring John Turturro, John Goodman
Supporting actors Judy Davis, Michael Lerner, John Mahoney, Tony Shalhoub, Jon Polito, Steve Buscemi, David Warrilow, Richard Portnow, Christopher Murney, I.M. Hobson, Meagen Fay, Lance Davis, Harry Bugin, Anthony Gordon, Jack Denbo, Max Grodénchik, Robert Beecher, Darwyn Swalve
Studio 20th Century Fox
MPAA rating R (Restricted)
Captions and subtitles English Details
Rental rights 48 hour viewing period. Details
Purchase rights Stream instantly and download to 2 locations Details
Format Amazon Instant Video (streaming online video and digital download)

Customer Reviews

That's a rarity in any art form, particularly film.
JR Dunn
Masterful performances from John Turturro and John Goodman, great supporting work from John Mahoney and Judy Davis.
Propertia
This is one of those films that's worth really thinking about, and watching again and again.
Wing J. Flanagan

Most Helpful Customer Reviews

59 of 62 people found the following review helpful By Lawyeraau HALL OF FAMETOP 500 REVIEWERVINE VOICE on September 20, 2003
Format: VHS Tape
Welcome to the wonderfully wacky world of the Coen brothers. Joel and Ethan Coen are two of the most brilliant filmmakers in America today. Every film they turn out is a cinematic gem, and "Barton Fink" is no exception.
The film centers around a slightly pompous, idealistic, left wing playwright, Barton Fink (John Turturro), who in 1941, after becoming the toast of Broadway as the pretentious voice of the common man, goes west to Hollywood at the invitation of a major studio in order to try his hand at writing screenplays.
There, he meets studio head, Jack Lipnick (Michael Lerner), and his yes man and whipping boy, Lou Breeze (Jon Polito). Asked to write a screenplay for a Wallace Beery vehicle about wrestling, a subject about which the bookish Fink knows nothing about, causes Fink to go into a professional tailspin.
Ensconced in a decaying old hotel, seemingly run by its slightly creepy and unctuous bell hop, Chet (Steve Buscemi), who bizarrely appears on the scene out of a trapdoor behind the hotel's front desk, Fink begins his ordeal . The elevator is run by a cadaverous, pock marked, elderly man. The corridors of the hotel seem endless. The wallpaper in Fink's room is peeling away from the wall, leaving a viscous, damp ooze in its wake. His bed creaks and groans with a life of its own. It is also hot, oppressively hot.
No residents of the hotel are apparent, except for the appearance of shoes outside the doors in expectation of the free shoe shine the hotel offers its denizens and for the noise made by his neighbors. Finks meets one of his neighbors, the portly Charlie Meadows (John Goodman), a gregarious Everyman, possessed of an abundance of bonhomie. A self-styled insurance salesman, Charlie cajoles Fink out of his shell, befriending him in the process.
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32 of 33 people found the following review helpful By Wing J. Flanagan on February 12, 2004
Format: DVD Verified Purchase
For a long time, the absurdist masterpiece Barton Fink was only available in a dingy VHS release. It was better than nothing, but this film deserved better. Thankfully, it's here - in all its stupefying glory.
I won't recount the story. Plenty of other reviews do that. Not long ago I was tempted to interpret it. That still seems a valid course, as there is a genuine sense that, beneath its comic, surreal surface, Barton Fink is trying to tell us something urgent and important. Perhaps, but the primal forces in a writer's mind as s/he shapes a great story do that, anyway - often without the writer's specific knowledge.
Rather than a simple allegory, Barton Fink is a collection of surfaces, styles, textures, and mannerisms. That they seem to add up to more than the sum of their parts is the great trick, akin to the way a painter can suggest the dappled depths of a forest with a few deft pats of a fan brush. Which isn't to say the film is shallow. No; there is a lot going on here. But to suggest that this film has a specific meaning is also to suggest it has an answer. Only mediocre films (by the likes of, say, Stanley Kramer or Oliver Stone) provide answers in a attempt to make themselves more important. The Coens (writer Ethan, director Joel), like most of us, haven't a clue about the Mysteries of Life. So they don't try to "...tell us something about all of us, something beautiful..." as Fink himself professes. Instead, they enjoy "...making things up...", like the other writer in the film, the Faulkneresque W.P. Mayhew (played to perfection by John Mahoney).
Somewhere in here, though, the sleight-of-hand, the postmodern flourishes (wherein genres clash and surfaces spill over one another in unexpected ways), cracks appear.
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15 of 16 people found the following review helpful By JR Dunn on May 25, 2004
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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