Inside Llewyn Davis
“Talented” is death, a waffle-word to describe the never-was, the artist distinguished enough to get on stage and not stink up the joint, but not exceptional enough to soar and to take the audience with him. Llewyn Davis (Oscar Isaac), the folk singer at the center of the Coen brothers’ Inside Llewyn Davis, is talented. Llewyn used to be someone, part of a folk duo called Timlin and Davis, until Timlin jumped off the George Washington Bridge. Now Llewyn drifts from gig to gig and couch to couch. The movie definitely takes the romance out of living in Greenwich Village in the old days; it’s set in 1961, not even a decade after the events of Paul Mazursky’s wistful memoir Next Stop, Greenwich Village, but the winter air is thick with the desperation of the “talented” to break out. Llewyn is decidedly not Larry Lapinsky, munching on an apple strudel at the end of Next Stop and thinking about where he’s been and where he’s going.
Inside Llewyn Davis is a plotless, week-in-the-life character study, following Llewyn from New York to Chicago and back, often in the company of a cat who seems as restless as he is. The musical backdrop works here the way it worked in the Coens’ 2000 O Brother, Where Art Thou?, the songs of Americana born of strife and poverty yet transcending despair by the purity of their sound. “If you’re singing,” the songs seem to say, “you’re alive.” The saturnine Llewyn doesn’t transcend anything; he’s down, and he seems to want to take the audience down with him. He’s a bummer, and Oscar Isaac plays him that way, but with an angry edge; Isaac is uningratiating but compelling. Llewyn is a dick who knows life is passing him by, and knowing it makes him more of a dick. He doesn’t even have the redeeming musical grace that Sean Penn’s even more loathsome guitarist had in Sweet and Lowdown.
As always, the Coens get the external details precisely right. I don’t know how much it cost to reproduce the Greenwich Village of 1961, complete with period cars that are only seen glancingly enough to identify them as period cars (maybe those were done with CGI), but it was worth it. And as always, the filmmaking is gorgeously controlled, no mess, nothing extraneous. The lead character is heavy but the movie isn’t; it’s full of lively, immediately readable people, except for Llewyn himself. The title (also the name of Llewyn’s solo album) is ironic: we never really do get inside Llewyn Davis.
We know so little about him; he doesn’t say much about himself, and we don’t know whether he mourns Mike Timlin or just mourns the fact that his own career hit the water along with Timlin. The only people who seem to like Llewyn are a sociologist (Ethan Phillips) and his wife (Robin Bartlett), and Llewyn repays them by losing their cat and then insulting them. Yet Inside Llewyn Davis wouldn’t work if it were about a kind-hearted go-getter who doesn’t make it. It would be too depressing. It plays as a deadpan comedy in which a has-been or perhaps never-was tries to be as objectionable and as annoyingly unyielding as, say, Bob Dylan (seen briefly here at the end, as if showing Llewyn how it’s done) without having Dylan’s genius. Yet when he tries to sell out, as when he gigs as a session musician on an inane novelty ditty called “Please Mr. Kennedy,” he can’t even sell out right — he opts to take a fast paycheck instead of waiting for his agent to approve it, thus cheating himself out of the song’s royalties.
So the Coens surround their central blank with more enjoyable company, like John Goodman as a heroin-addicted jazz player, or F. Murray Abraham as a Chicago club owner, or Justin Timberlake and Carey Mulligan as a husband-and-wife folk duo, half of whom Llewyn may have impregnated. I also appreciated Stark Sands as a soldier/folk singer who speaks fluent Coen-ese. They all have enough life to sustain their own films, but we stay stubbornly with Llewyn as he mopes and schleps the cat around and tries to scrounge money or couch space. Why make a movie about Llewyn (or Barton Fink, or Larry Gopnik, the mathematician non-hero of A Serious Man)? Why not, especially since American cinema tends to want to dismiss or forget any protagonist who isn’t dynamic and aggressive and, well, American, particularly now in the era of the superhero blockbuster? In a world of iron men and supermen and Norse gods, Llewyn is actually an exciting novelty.