inside llewyn davis seems like the story of a failed life, of losers and wanderers, for people who couldn’t identify with such issues in the flow of life. However, the backbone of his drama is not just the story of a failed musician; It is the story of the humble masses who have failed in life in general. The characteristic nuance may be that the character engages in art, i.e. music, but as she explores that fine line between success and failure, it does so through the individual’s existentialist effort to survive in life, i.e. by keeping up the basic order of life and from there, after the general acceptance of society, the successful badge in the triangle of work, family, career and brings it to the screen in a roundabout way to the history of the common mass carriers.
because llewis is not such a big loser as it is written
he just wants to live as he knows it and strives for it, but he is not determined enough (by general standards, of course). It’s not a bad person by general moral standards, it’s about Ilewis, but as you can tell, he’s treated and talked about throughout the film as if he were an unpopular person. For example, the woman who became pregnant from him scolds and insults him (which is not certain). He even describes him as a villain who sleeps with other people’s lovers but forgets that he was the one who betrayed the captain. That’s the core of Llewyn’s story and character right here. Llewyn is a very kind, gentle and consistent man. but his failure in what he wants to do and his struggle to make sense of life from what he knows always makes him seem like an arrogant, arrogant, thoughtless and bad man. because his general failures condemn him to embarrassment in front of others. I think only those who have lived life like Llewyn can understand and see that sentiment (a friend’s school). People generally expect people who are unsuccessful and unsuccessful (i.e. those who do not have a steady job, occupation, or income) to be humble and humble. Artists are the biggest destroyers of this expectation. Here lies the key to Llewyn’s (unexplained) evil throughout the film.
Llewyn’s outbursts, which she is guilty of every time, are all legitimate and necessary outbursts
There is an unmistakable expectation of being more humble and content than people who wear their life’s failures (again, of course, by general criteria) like a gold coin around their necks and shoulders. Generally, these people adapt to some degree to this survival requirement. This is a place where people like Llewyn speak out against the stupidity of common sense and become bad people. As an artist, the burden of looking at the meaning of life with a different effort, suffering and exertion, under the shocking, tiring and even deadly aggression of creation, the struggle to be able to convince oneself is constantly on the mind of Llewyn and the What is called success is often the right timing, the right people at the right table with the right people, it’s all about the sitting, the effort and encouragement it takes, and positive testimonials flowing out . Like many underperforming artists, Llewyn often rebels against it. he doesn’t do it in long, wearisome tirades. A single word, a look, an expression is enough to understand his intimidation. While people pay no price for their endless rudeness, thoughtless, direct expressions of being the so-called winners, Llewyn, who loses, becomes a bad, improper, arrogant man when he bursts into these indiscretions. However, the Coens purposely don’t show us the reason and explanation for any of the volleys made throughout the film, particularly from the girlfriend’s wing to Llewyn, via their vague malice (selfishness or indifference is more accurate). because what they want to tell and underline is not the rise and fall of an artist with its excesses and frivolities. on the contrary, llewyn in the struggle for existence, for a much bolder life than the so-called victorious masses, whose lives have been controlled by the established order. and to add to the irony, it makes llewyn’s father a former naval officer, the forced heir to an epaulette he inherited from his father back to the coens.
Therein lies the shine that makes the Coens film great.
Llewyn is still trying to sustain that life, while the unstoppable, unconcealed, and inescapable existence of trauma haunts her in everything she does, around, on people’s lips, and maybe even when the principle of success and Failure to do this took suicide as a criterion for what she did. He knows that he has nowhere to run, to hide, because he always carries his guitar, which constantly reminds him of his trauma and which in a sense has turned into a limb of his body. She freezes, takes shelter, sings to songs she knows are bad, makes friends with people she doesn’t like, and can’t really focus on what she needs to do while trying to To hide from the invisible, sticky feeling of guilt that will cling to the back of her neck and pull her to the bottom. That said, it’s not a success or failure, it’s actually the Coen’s problem. a flow, a being, a state of riding.
While befriending his forced friends’ cat, how he knows as much as he can, he eventually considers giving up when he sees his own future in the wound of the cat or raccoon he met with that cat and that car behind his indifference. he then sees the end in the flight of the injured animal, which he looks at with anxious eyes. However, the Coens cleverly combine the film’s first scene and final scene to emphasize the meaningless loop and the absurd. While we think we are witnessing a life that changes and evolves after the first scene, in the finale they bring the first scene before us and scream that we are called to witness a life that lasts until that scene , again with her own unique sense of humor. At this point, in destroying that divine, otherworldly, surreal talisman that we thought would be a game changer for Illewyn, they throw before us their most existential waveism about the meaning of life and absurd concepts. They show no glimmer of hope, moral value, or sign of departure for the future, as in many films of their kind. But for all their spite, the Coens present another masterpiece of their own that uniquely balances the dramatic balance of Inside Illewyn Davis.
While reinterpreting the universal story of a musician who returns home penniless at midnight in Ahmet Kaya’s song by Llewyn Davis with different connotations, identities and references (to me), he casts a very extravagant facade that will never be hidden from the memory of the will be closed to the public. In a word, it’s a great film.