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daily 01/27/2014

  • Taylor Swift’s been bleating on about an old scarf for five minutes. Tom Waits could have killed a whole pirate navy twice over.

    • “A couple of poor nameless slobs”  

       

        The fact that the cat remains nameless for most of the film is reminiscent of Breakfast at Tiffany’s. Holly Golightly is befriended by a similar ginger tom that she calls simply ‘Cat’, and he provides a metaphor for her own nomadic existence.

    • As Joel Coen explained at the Cannes Film Festival last May, “The film doesn’t really have a plot. That concerned us at one point; that’s why we threw the cat in.” But he lived to regret blithely giving a role to a cat.
    • This wily feline disappears and reappears at various points throughout Llewyn’s journey, serving as a cryptic, adorable narrative device.
    • I think the cat’s (or cats’) fate is connected in some way to the puzzling temporal relationship between those opening and closing scenes at the Gaslight, but after two viewings, I still haven’t figured out quite how — another of the many enchanting ambiguities of Inside Llewyn Davis.”
    • “For the remainder of Inside Llewyn Davis, this uncooperative animal seems to be leading Llewyn from one strange adventure to the next, like a beatnik Leopold Bloom on the trail of a feline Stephen Dedalus.
    • “For ostensible continuity, the brothers summon that darn cat to materialize or vanish at intervals. This is a device unworthy of the brothers’ usual ingenuity, though it does link Inside Llewyn Davis to another 1961 pop-cultural artifact: the film of Breakfast at Tiffany’s, in which the true soulmate of Holly Golightly (Audrey Hepburn) is a cat named Cat.”
      • no.
    • Joel and Ethan Coen’s latest film — textured, odd and curious, not eager to give up its meaning on a first viewing — is a bleak but lovely little parable about the failure of a Greenwich Village folk singer in the weeks before Bob Dylan hits town and Everything Changes. For Llewyn Davis, pretty much Nothing Ever Changes.

       

    • Tiny things have a way of getting away from Llewyn: He has also lost track of a cat who bolted from another apartment where he was crashing. The cat’s name is Ulysses, which is the Coens’ clue that this film (like their “O Brother, Where Art Thou?”) has a few parallels to Homer.
    • If Homer’s Odyssey was the starting point for the Coens’ earlier feature O Brother, Where Art Thou? (2000), James Joyce’s Ulysses is a clear inspiration here. Llewyn Davis (played in engagingly forlorn and comic fashion by Oscar Isaac) is a Leopold Bloom-like wanderer. He locks himself out of an apartment early on and is left to roam the city.

Posted from Diigo. The rest of my favorite links are here.

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