A Serious Man had its UK premiere last night at the London Film Festival. Check out the Guardian’s 5 star review which claims that this movie could be their masterpiece…

“The Coen brothers may just have made their masterpiece with this, their 14th feature and yet another hairpin-bend change of direction, which has been their trademark for their entire career.

Two films back they were prowling the Texas badlands in a gruesome tale of blood and revenge in No Country for Old Men; then they turned to weightless farce in the entertaining Burn After Reading.

Here they are heading to the suburbia of 1960s mid-west America for an elaborate, slippery, fable that feels, strange as it may sound, like a novel that Saul Bellow or Bernard Malamud never quite got around to writing.

A Serious Man starts off odd, and gets odder. The first five minutes is entirely in Yiddish, a Coen-ised version of a shtetl folk-horror tale featuring a bearded old man who may or may not be a dybbuk(wandering spirit). Suffice to say, the Coens don’t muck about when it comes to the use of stabbing weapons.

Then we flip forward from the old country to the new world, to where our protagonist, Larry Gopnik (played by Michael Stuhlbarg) is your archetypal harassed and neurotic Jewish-American college professor.

His apparently unimpeachable lifestyle is crumbling rapidly: one of his students is trying to bribe his way through exams, his application for tenure is being undermined by anonymous threatening letters, his deadbeat brother is sleeping on the sofa and attracting the attention of the police, and – this is the killer – his wife is planning to leave him for another man, one of those swinging middle-aged types who embraced the permissive culture with desperate fervency.

To offset this Gopnik goes looking for answers from his religion, but unlike Judah Rosenthal in Woody Allen’s Crimes and Misdemeanors, he does not come up against the blank wall of a  Godless universe; what he encounters are perplexing rabbis telling him baffling parables that just leave him feeling more and more confused.

It’s this refusal to neatly resolve their narrative that gives A Serious Man its distinctive flavour; it has the same open-ended spirit of The Graduate, an authentic classic of late 60s Jewish-American culture. (A Serious Man could easily have been conceived as a sequel to that film, with Gopnik as a grown-up Benjamin Braddock.)

The Coens, though, don’t quite do deeply felt alienation like anyone else. Despite the opaque story line, their film is a glittering, perfectly honed artifice; but what pushes it into the Coen premier league is the sense that, as with Fargo, there’s something very personal going on here.

It’s not autobiographical exactly, but the Minnesota setting is the Coens’ own childhood universe, and they revved up for their barmitzvahs at pretty much the same time as Gopnik’s son, Danny. The Coens, so normally elusive, have let the mask slip a bit. It’s  paid wonderful dividends.” - Andrew Pulver, The Guardian, 28th October 2009. *****

Ponders the Guardian’s Joe Queenan using the fact that the Coens are yet to make a tear-jerker as evidence that they are not fit to be so highly regarded. Once again a journalist bemoaning the fact that the Coens have gone from making a serious, Oscar-winning movie (No Country For Old Men) to a light, knock about comedy (Burn After Reading). Like that’s a bad thing! His comment that “the Coen brothers revert to being smart-alecks making films for snarky college students” is so boring, so well-trodden and so wrong that I almost stopped reading the article right there. And again the line about the Coen brothers “creative slump” is regurgitated, only this time, to fit the theme of his article, Queenan, has decided to make that slump a lot longer than the period in which the much maligned (unfairly, or at least overly harshly, in my opinion) Intolerable Cruelty (“a real horror”) and The Ladykillers (“a gabby, klutzy reworking of the 1955 British classic of the same name”). He extends it to include the period 1998-2006, a period in which he claims the Coen brothers “hit the skids”, conveniently beginning after most people’s favourite Coen movie, The Big Lebowski to the aforementioned serious, worthy movie, No Country For Old Men. This merely gives him the [false] evidence to back up his claims and overlooks two truly tremendous movie offerings in O Brother, Where Art Thou? ,which, in his esteemed opinion, has nothing to recommend it but (you guessed it) the multi-million selling, award winning soundtrack, and The Man Who Wasn’t There.

He also contends that- “Everything the Coen brothers do is clever, eye-opening, and stylish. That puts them in a class with Salvador Dalí. It doesn’t put them in a class with Rembrandt”.  Suits me, I much prefer the work of the surrealist master over that of Rembrandt.

In my opinion it is Queenan’s article that is a “recycling – more like a regurgitation” displaying for all to see how easy it is to write from a grumpy stand point. Of course, much like this post, his article is merely one man’s opinion to which he is entitled, however wrong it may be.

I don’t know how they’ve seen it already when the Venice Film Festival starts its opening ceremony at 7pm local time this evening (8pm to us in the UK) and, according to its site, the movie is showing AFTER that. Anyhoo UK newspapers The Times and The Guardian both have four star reviews up already. Guess they showed it early… Here they are…

“Joel and Ethan Coen call upon a heavyweight cast of regular collaborators (George Clooney, Frances McDormand, Richard Jenkins) and newcomers to the Coen repertory group (Brad Pitt, John Malkovich, Tilda Swinton) for their follow-up to the Oscar-winning No Country For Old Men. And then the brothers gleefully despatch half of their stars in a hail of bullets and blunt weapons.

This is the Coens’ first self-penned original screenplay since The Man Who Wasn’t There in 2001, and it has in common with some of their earlier pictures, specifically Raising Arizona and Fargo, a savagely comic taste for creative violence and a slightly mocking eye for detail. It also shares with these films one of the Coen Brothers preferred themes: that of inept criminals, or more specifically the ordinary Joe who thinks he or she can pull off one ingenious heist that will turn their luck around.

It’s hard to think of anyone less suited to a life of crime than Pitt’s character Chad. Most toddlers have better extortion skills. Chad is a bouncing puppy of a man; a fitness trainer at Hard Bodies gym and the best buddy of fellow Hard Bodies employee Linda (McDormand). Linda has an aching loneliness inside which she attempts to fill with unrewarding hook ups on internet dating sites and the dream of a new life bought through extensive cosmetic surgery. But all the butt-sculpting and face-stretching that she requires comes at a price, so when the gym cleaner finds a disk that appears to contain what Chad describes as “top secret sensitive shit”, Linda scents the chance of a windfall and Chad skips happily along beside her.

The disk in fact contains the whiskey-sodden ramblings that former CIA agent Osbourne Cox (Malkovich, who ties with Pitt for the film’s funniest performance) considers to be the beginnings of his memoir. Cox is struggling from the wreckage of a motorway pile-up of personal crises – he has quit his job, his wife (Swinton, delivering her lines with a scrotum-shrivelling ferocity) is tired of him and two imbeciles are trying to blackmail him. Little does Cox know but his wife is having an affair with a man he despises: married family friend and federal marshal Harry (Clooney). And in a coincidence that only the Coen brothers are audacious enough to pull off, Harry is also seeing Linda, having met her while sleazing around internet dating sites.

Carter Burwell’s brilliant score is the most paranoid piece of film music since Quincy Jones’s neurotic soundtrack for The Anderson Tapes – it’s particularly well-judged as it brings a gravity to a collection of characters who we could otherwise dismiss as numbskulls and nincompoops. The attention to detail is impeccable: the Coens can even raise a laugh with something as simple as a well-placed photograph of Vladimir Putin (the Russian Prime Minister gazes down from wall at Pitt and McDormand with the murderous expression of a tiger shark about to chew its way through a mouth full of particularly stupid herrings).

If the film does lack something, it’s warmth. The affection you felt from the Coens for the misguided fools in Fargo or Raising Arizona is lacking here for everyone except Jenkins’ hapless and hopelessly love sick gym manager. And while the film carries the audience with its entertaining, if somewhat ludicrous, blend of high level espionage and ab-toning exercises, it would perhaps be more rewarding if we could like the characters as well as laugh at them.- Wendy Ide, The Times”

“The Venice film festival got off to a rousing and star-studded start with the latest offering from the Coen brothers. Burn After Reading finds room for George Clooney, Brad Pitt and John Malkovich – along with Tilda Swinton who, improbable as it may seem after all those years slogging it out for low-budget avant-gardists like Derek Jarman, Sally Potter and John Maybury, is now supping at the high table of Hollywood aristocracy. And the Coens themselves are new enough to the big leagues for them to still feel they are blinking owlishly in the spotlight.

The film itself may be a bit of an afterthought down here on the Lido. Clocking in at a crisp 95 minutes, Burn After Reading is a tightly wound, slickly plotted spy comedy that couldn’t be in bigger contrast to the Coens’ last film, the bloodsoaked, brooding No Country for Old Men. Burn, in comparison, is bit of a bantamweight: fast moving, lots of attitude, and uncorking a killer punch when it can.

Set in Washington DC, at the heart of America’s political establishment, it moves in four directions at the same time. Osbourne Cox (Malkovich) is a superannunated CIA analyst who is given the push and rancorously starts writing his memoirs. A computer disc containing his alarming-sounding background material falls out of a bag in a gym locker-room, where it ends up in the gormless clutches of Chad Feldheimer (Pitt) and Linda Litzke (Frances McDormand) who run the place; their instant reaction is to try a little blackmail. The cosmetic surgery-obsessed Litzke is also scouring internet dating sites and starts something with serial adulterer Harry Pfarrer (Clooney), who has an unspecified job in the Treasury dept, but is overly proud of his past in “PP” (that’s “personal protection” to the likes of us). But he is already having an affair with Cox’s wife Katie (Swinton) – and it’s the latter’s sneaky investigation of her husband’s financial resources as she gears up for a divorce that triggers the whole information-loss plot-thread.

With such a profusion of attention-grabbing performers, it’s hardly surprising that the first narrative motor – the fools-after-money trope of which the Coens appear so fond – is swiftly subordinated to backstabbing emotional shenanigans; we soon find ourselves watching a particularly murderous account of marital high-jinks among moneyed social elites. (In this regard, the Coen film it most resembles is the divorce-lawyer comedy Intolerable Cruelty.) It’s also stuffed with the usual throwaway brilliancies: McDormand, for example, has a running gag with a computerised switchboard that can’t recognise she is speaking English, while Swinton does a very subtle bit of eye-acting to suggest she’s actually turned on by the thought of rooting through her husband’s bank records. Pitt, in fact, gets the best of the funny stuff, but has by some way the least screen time of all the principal cast.

Where does this film leave the Coens? Their unique position, as darlings of both the Hollywood set and the festival circuit, is unchanged. What they have managed to come up with here, somehow, is a light-as-fluff flipside to hardcore “insider” films like All the President’s Men, Michael Clayton or, indeed, The Insider: it paints the powers-that-be as goofy, chaotic and definitively non-sinister. This lot, you feel, couldn’t bug their way out of a paper bag.

Burn After Reading may also go down as arguably the Coens’ happiest engagement with the demands of the Hollywood A-list – but this bit of career development may also be contributing to a diminishing of their particular film-making strengths. Or perhaps they are simply evolving. The highly-wrought grotesqueries with which they made their name seem well in the past; stars find it difficult to merge with the scenery. For better or worse, their films are now more simply natural to look at and experience. Whether it will pay off again at the Oscar ceremony or box-office remains to be seen.- Andrew Pulver, The Guardian”