Film / Barton Fink

A 1991 film by The Coen Brothers, often considered one of their best. Barton Fink (John Turturro) is a playwright who has gotten a contract to write movies. The enthusiastic studio executive tells him to write a wrestling picture.

Getting a bad case of Writer's Block, he meets Charlie Meadows, an insurance salesman, "W. P. Mayhew" (William Faulkner), his mistress, an excitable producer, and a cast of others.

Notable for earning three awards at Cannes, it contains elements from numerous genres, being somewhat of a comedy-Film Noir-mystery-horror-drama.

Barton Fink provides examples of:

  • Affably Evil: Charlie Meadows.
  • Alas, Poor Yorick: A possible case, depending on the contents of the box.
  • All There in the Script: In his play, Bare Ruined Choirs, Barton's characters are named Lil, Maury, and Dave. According to the original script, these are also the names of his parents and uncle, although in the film, his father's name is Sam.
  • Axe-Crazy: Charlie Meadows, a.k.a. "Madman" Mundt. Played by John Goodman.
  • Captain Obvious: Charlie comments several times on how hot it is inside a building that's on fire.
  • The Chew Toy: Barton; see Trauma Conga Line below.
  • Deadpan Snarker: The two detectives are a ridiculously hostile example
  • Death by Sex: Audrey, and instantly.
  • Deliberate Values Dissonance: The detectives make it plain that they don't like Barton for being Jewish and (as they later incorrectly assume) homosexual.
  • Disproportionate Retribution: Mundt methodically kills everyone Fink respects or cares about because of a noise complaint. He also murders an ear doctor because of an argument over $10 (which equals about $160 in today's money, but still). It's implied this is the reason for most of his murders, regardless of what he says otherwise.
  • Does This Remind You of Anything?: The film is set in 1941. For no particular reason, the anti-Semitic detectives are given a German and an Italian name (Deutsch and Mastrionotti) to evoke the Axis powers, and Charlie/Mundt (who also has a German name) says "Heil Hitler" before killing one of them. However, Word of God says this is really just symbolism for symbolism's (scary) sake, not necessarily with a real message attached.
    • Not to mention that it's Barton' s first movie, around the same time as the first for Orson Welles.
    • Common Man and Aaron Copland, anyone?
  • The Golden Age of Hollywood: At it's worst.
  • Have a Gay Old Time: W.P. Mayhew sings: "Gone are the days when my heart was young and gay..."
  • Hell Hotel: The Hotel Earle is rather unsettling to begin with. Then it bursts into flames.
  • Hollyweird: The disturbing surrealism starts once Barton leaves New York.
  • Hypocrite: Barton makes a big deal about how his work deals with the plights of the common man, yet when Charlie tries talking to him about his own experiences as a common man, Barton insists on talking over him about his own work.
  • Large Ham: As noted, the producer and executive have the times of their lives with their roles.
  • Late-Arrival Spoiler: The main menu of the DVD spoils almost everything about the ending.
  • Madness Mantra
  • Magnum Opus: invokedFink thinks he's written his at the end of the story. But since he was supposed to be writing a Strictly Formula wrestling flick, all he achieves is getting his supervisor fired and himself locked into a contract where the studio will never produce anything he writes. At least not until he "grows up."
  • Mind Screw: The contents of the box.
  • Money, Dear Boy: invokedIn-Universe, how Fink is convinced to go to Hollywood to write B-movie scripts.
  • The Murder After: Audrey's death.
  • Most Writers Are Writers: The dreaded "Writer With Writer's Block" plot.
  • N-Word Privileges: Jewish studio head Jack Lipnick calls himself and others kikes.
  • No Celebrities Were Harmed: W. P. Mayhew, based on William Faulkner. Also Barton himself, who's sort of a Writers Suck version of Clifford Odets.
    • [1]Jack Lipnick is based on Golden Age studio executives (Jack Warner, Louis B.Mayer, etc).
  • No Ending
  • Off with His Head!: The fate of W.P. Mayhew, Audrey, and Mundt's other victims.
  • Plot Hole: Possibly intentional, but the morning after Meadows leaves the hotel, his shoes are out in the hall for shining.
  • Punctuated! For! Emphasis!: "I WILL SHOW YOU THE LIFE OF THE MIND!"
  • "The Reason You Suck" Speech: Barton gets one from Jack Lipnick near the end.
  • The Reveal: The scene when the detectives meet Barton.
  • Same Story, Different Names: In-universe example of Barton Fink's play vs. screenplay:
    Bare Ruined Choirs ends with "We'll be hearing from that kid, and I don't mean a postcard"
    The Burlyman ends with "We'll be hearing from that crazy wrestler, and I don't mean a postcard."
  • Screams Like a Little Girl: Barton when he finds out that Audrey is dead.
  • Serial Killer: Karl "Madman" Mundt, and a Nazi sympathizer to boot.
  • "Shaggy Dog" Story
  • Surreal Horror: Much of what happens in the Hotel Earle has elements of this, especially the peeling wallpaper and the behaviors of Charlie and Chet.
  • Suspect Is Hatless: Barton can't really say much about the man the detectives are looking for:
    Barton Fink: He... he said he liked Jack Oakie pictures.
    Detective Mastrionotti: You know, ordinarily we say anything you might remember could be helpful. But I'll be frank with you, Fink. That is not helpful.
    Detective Deutsch: Notice he's not writing it down.
  • Those Two Guys: Deutsch and Mastrionotti
  • Trauma Conga Line: First, Barton gets a little writer's block. Then he discovers that his idol is a drunken, empty shell of a man. Then he wakes up with their mutual muse lying dead beside him in bed. Then he discovers that his only friend is a homicidal maniac. Then the homicidal maniac returns and kills his fallen idol and the entire building catches fire and it is also implied his folks were murdered due to Barton telling Mundt to stay with them, at which point his employer angrily dismisses his script and tells him the studio will never produce anything he writes until he grows up a little, forcing Barton to remain in a contract that will never gain him the recognition and artistic freedom he craves. One hell of a route from A to B, there.
  • The Unreveal: The contents of the box.
  • Vomit Discretion Shot: Subverted; after seeing Audrey's body, Charlie goes to the bathroom to throw up.
  • Wham Line: The very last line of the movie. When Fink calls the woman at the beach very beautiful and asks if she's in pictures, she replies "Don't be silly." This could be interpreted to mean that the best things do not belong in the pictures. That she's too beautiful for Hollywood and, consequently, that Fink's writing is too good for it. Hollywood isn't the shining city on a hill and the ultimate goal of any writer as he saw it, it's a sleazy and uncreative place more interested in money than art. The woman is better off on the modest beach and Fink would have been better off staying on Broadway.
  • Wide-Eyed Idealist: Barton and his belief in the common man.
  • Writer's Block: The movie is about a writer suffering from writer's block, written while the Coens themselves were having difficulty with Miller's Crossing.
  • Writer's Block Montage: Of course.
  • Writers Suck: Ben Geisler certainly thinks so. Fink himself is a self-pitying, pompous hypocrite. Then again, Writers Are Writers.