This trailer was lifted from an invite Anne Thompson got to a screening on the Sony lot; watch it while you have a chance

http://youtu.be/r5ngyALMRR4

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Say it to my face.

who has better period piece cinematography than the Cohen's?

Maybe I should take a look-see at this, huh?

though the scene was inherently Bohemian, so I hope some of that comes across in the movie.

It's actually "Llewyn," though, not "Llewelyn." I read it wrong for months before I noticed.

>
>It's actually "Llewyn," though, not "Llewelyn." I read it
>wrong for months before I noticed.
>

i cant pronounce either
though i've read them in books for years
and i KNOW i'm saying it (mentally) wrong


LE-Win
LE-We-lin

~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

Loo-in
Loo-ell-in

Don't be thrown by the double l's.

It's probably in the mail.

It's probably in the mail.

I'm in.

Is he basically Bob Dylan? Does Bob Dylan exist in the world of this movie and Llewyn is some less successful version?

I don't see it.

Small town, big city.
Crazy young love.
Rejection.
Pissy attitude.
Eventual success and acceptance.

I repeat, there are zero parallels to be drawn between Llewyn Davis and Bob Dylan.

Llewyn Davis is not a thinly-veiled variation, or sample, or interpolation of Bob Dylan in any way, shape, or form.

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Gotta hear both sides

it does look a lot like the freewhelin bob dylan cover. except he has a cat instead of a lady on his arm.

http://www.nextmovie.com/wp-content/uploads/2013/07/Van-Ronk.jpg

The photo you're talking about might have been a nod to Freewheeling Bob Dylan but, If anything that's just an example of how idiosyncratic Llewyn is, instead of a pretty girl on his arm, he has a cat. So you could say they is a parallel to Dylan in that case but everyone involved has said the movie is more or less a kind of inspired by Van Ronk.

I just think the main point is that you shouldn't go into the film expecting it to be an alternate universe Dylan.

i'm not expecting dylan, but i'm assuming dylan will be played upon as a touchstone because it's dylan.

According to what I've read, it's loosely based on the life of Dave Van Ronk. So Dylan should exist in this film, I'd imagine.

but if the few who figure out that it's (theoretically, at least) based on Van Ronk actually go out and read his book and start listening to his records a bit more, I won't be mad.

And good old Hedy West is going to make more money off Timberlake singing 500 Miles than she has from all versions prior.

Mild Spoilers.

This is the quirked-out, darkly comedic, unconventional narrative Coen brothers of A Serious Man and Burn After Reading as opposed to the more "commercial" stuff like Fargo and True Grit.

I thought that Oscar Isaac was dope as this talented but assholish cat who had a tendency to fuck things up for himself with his mouth and his somewhat-unrealistic belief in his artistic integrity. He's that guy who doesn't quite realize - or simply refuses to admit - that his time as an artist has about come and gone, and I thought Isaac's performance nicely captured his stubborn and brooding insistence on failing repeatedly in the name of his art. This was the portrait of an artist as a moody dolt.

And to be clear, Isaac is NOT playing Bob Dylan, or a variation on Bob Dylan.

As far as everyone else goes, Goodman was great in a small bit as a jazz musician who had no problem shitting on the folk scene; Carey Mulligan was very good as a fellow folk singer who was personally and professionally linked with Timberlake, who was fine in a small role. I also dug the actors who ran the label Llewyn was signed to, as well as the couple that Llewyn maintains a tenuous friendship with.

Visually, it would have been nice to see Roger Deakins' take on this world but I really liked the washed-out, wintry pallet that Bruno Delbonnel worked with. And again, the songs were fantastic; T. Bone Burnett once again produced some good stuff for the Coens.

So yeah, this movie was very entertaining.

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Gotta hear both sides

Davis is based on David van Ronk. But my group at this shit up.

Love me some, COEN BROS.
Cannot wait.

I guess I just don't care to watch a self-destructive asshole spin his wheels. Although Oscar Isaac was great and the film definitely had its moments.

But did the film look worse for people in the second half? The F. Murray Abraham scene looked terrible and then I really started noticing that it wasn't looking as crisp. Maybe something happened with the digital projection at the Arclight but it was noticeably worse.

My initial impression is that it didn't really have the same *immediate* impact on me as No Country For Old Men, which I think is an unqualified masterpiece. I think that's because NCFOM was more aggressive though. (Notice I said "immediate" impact - I saw this a couple days ago and haven't stopped thinking about it yet. It's layered and there's a lot you can chew on.)

Oscar Isaac is absolutely as good here as just about any other performer this year. He's the heart and soul of the movie, and he has something you can't fake: the charisma to make you care about him even though he's not a particularly nice person. (He also sings and plays all of his songs live, and does so quite impressively.)

His performance is really crucial because this is basically a pure character study. There's really not much in the way of traditional plot, which is fine with me but might somewhat hurt its reception with the general public. (When it ended, for example, the old guy next to me threw up his hands and went, "That's it?!?! It didn't *go* anywhere!")

Bottom line, it's exceptionally well-written, acted, directed, and shot. The performances and the music are really great. I'm not sure it's an instant classic, but I think history will regard it right up there with the best of what the Coens have to offer.

Oh, and to answer Colonelk's question above (VERY MILD SPOILER): Yes, Dylan exists in the universe of this movie, and at time the movie is set, Llewyn is more of a precursor/peer than a less successful version.

That ending was butt, if I had known the ending was the beginning and they were coming back around I would have been less entertained. And I hate when protagonists can't fight or just get beat the hell up.

Jean was a douche, I can understand not wanting to be knocked up but the way she spoke to llewyn throughout. . . douche.

John Goodman was not likeable at all, the point, but I wanted to punch him in the face.

Dean Moriarty had a easy payday. You've been typecast as a vagrant roadtripper.

And the end of their little segment was just awful, not awful viewing wise but Dean gets kidnapped and John just drugged up in a cold ass car with gimp legs and a cat.

And I wanted him to go to Akron, I thought he was going to leave that guy on the road ( pun, hehehe ) and hitch or there would just be an awkward scene of them arguing about him taking a detour mixed with Llewyn sitting at Danielles parents house getting called a dead beat dad.

And all the extra folk singer men were cool, that army kid was creepy though. Timberlake was as nice as expected, but then you find out his girl boinking everybody and he just seems dopey.

Great music and awesome cats too. Nice movie.