Актеры: John Turturro (as Barton Fink), John Goodman (as Charlie Meadows), Judy Davis (as Audrey Taylor), Michael Lerner (as Jack Lipnick), John Mahoney (as W.P. Mayhew), Tony Shalhoub (as Ben Geisler), Jon Polito (as Lou Breeze), Steve Buscemi (as Chet), David Warrilow (as Garland Stanford), Richard Portnow (as Detective Mastrionotti), Christopher Murney (as Detective Deutsch), I.M. Hobson (as Derek), Meagen Fay (as Poppy Carnahan), Lance Davis (as Richard St. Claire), Harry Bugin (as Pete)
Описание: Честный и закомплексованный драматург Бартон Финк (Туртурро) попадает в начале 40-х годов в Голливуд, где ему проучают написать заказной сценарий для могущественной кинокомпании. Муки творчества усугубляются житейскими проблемами. Великолепны картинки нравов киномира, особенно впечатляет сатирический портрет магната Липника (Лернер). Отточенная по мастерству психологическая драма братьев Коэнов (Этан и Джоэл вместе написали сценарий) получила в Канне "Золотую пальмовую ветвь", призы за режиссуру и лучшую мужскую роль (Туртурро). (Иванов М.)
Рецензии: Like Finnegans Wake, this thing needs a skeleton key. It seems all style and surface and a viewer senses undertones in it, some of them obvious, but some possibly imaginary. What, for instance, is the significance of the kitschy calendar art on the wall of Barton Fink's room? It's a painting of a girl in a bathing suit looking out to sea. It's given prominent display in the film and is reprised in real life at the end. Yet it doesn't seem to carry any symbolic weight, unless it's some banal observation such as, "We're all trying to find something." It has less significance than the recurring Tap. Tap. in Finnegans Wake.
Not that the movie is without substance underneath all those stylistic pyrotechnics. Of course it's a shot at Hollywood. It's been done before, but it's done particularly well here through both the acting of the studio heads and their minions and through the script. "I told Wallace Beery we would have to set his wrestling picture back and he was heart broken. Devastated." (This from Louis B. Lepnik or whatever, who has become a beribboned full colonel overnight, just like Darryl F. Zanuck did.)
Then there is the theme of Barton Fink, his idealism, and his writer's block. How can you have writer's block when you're writing a Wallace Beery wrestling movie? It's like blocking while trying to write a dirty limerick. A myriad of people seem to have felt that Fink was an arrogant snob, unwilling to listen to the tales of his common-man neighbor, John Goodman, an affable insurance salesman who has tales "that could curl your hair." (I'll bet.) But in the end, Fink comes through with what he considers an artistically respectable script for the film, which is of course rejected by Lepnik and which sinks Fink's career in Hollywood. That shows a certain amount of principle, doesn't it?
Then there is the William Faulkner figure -- an uncanny lookalike -- to whom we are introduced by watching him kneel fastidiously on a bathroom floor and yoik up his liquor into the toilet. Mahoney gives a riotous performance. He invites Fink to visit him in the afternoon but when Fink shows up he is not admitted to the bungalow, and we can hear Faulkner raving drunk in the background -- "Where's mah HONEY?"
Then there is the theme centered around John Goodman, but this is the one that really twists the movie up. What's in the box? Why is the hotel on fire? Did he kill Fink's family? How could he blast somebody with a shotgun in Fink's room without waking Fink up? What the hell is going on?
But there is a lot of imagination and creativity built into this movie. It's a stylistic masterpiece in its own unquiet way. And funny too despite its sometimes morbid content. It's the kind of movie that gets plaudits overseas while we give money and prizes to the multibillion dollar blockbusting bores like Titanic and Pearl Harbor. It's no wonder the Coens give us a Hollywood filled with Philistines.