. The narrative structure
of the film is the highlight of this film. The story is a drama. Double line. Bright thread shows a writer's hardships and inner needles and tempering from the time Funk entered Hollywood. The dark lines from these character symbolism strongly attack the inner expansion of modern art workers and the Hollywood film art of the Fallen
II, the character symbolism of the film
Jack. Ripney (the bossy face) - you should get down on your knees and kiss Funk's feet,
including his assistant Luo, who are the embodiment of mainstream media and modern film studios, who are rushing for money, in Funk When he was popular, he tried his best to kneel and lick Funk, which was vulgar.
Bill Mayer (drunk writer) --- No, kid. I am building a dam.
Mayer is one of those who has made some achievements in the halls of art. The filmmaker who finally lost himself in the secular torrent. They only maintain a trace of artistic original intention. But gradually lost the ability to resist the intrusion of the world. If you lose yourself, Jiang Lang is exhausted. In the movie, Mayer relies on alcohol to escape reality, allows himself to immerse himself in the gentle village of alcohol and assistants, and finally relies on assistants to write for himself to maintain his life. Audrey Tyler (Mayer's Lover) - It's not hard to see Mayer's unspeakable anger towards Audrey in the film of
the Laid-Out and Degenerate Gentle Country .
She is actually the reason why Mayer Jianglang's talents are exhausted. Wireless tolerance and indulgence. Enduring abuse and violence also helped Mayer write. Of course she is just a symbol. The source of those laissez-faire is more likely to come from Meyer himself. Audrey represents the sum of these internal and external factors. A haven for the weak to escape. Later, he also tried to seduce Funk, and finally died in Funk's bed. In fact, everyone has an Audrey in their hearts.
Detective Mostrotti, Detective Deutschland - the minions of ultimate
power. They are the symbols of the minions of power. Their names represent the two powers of Italy and Germany. Some people use the stories in the Bible to metaphorize these two evils. Minions. It's not far-fetched, and Solomon's mother is also mentioned in the film, and these biblical stories are also the source of inspiration for the Coen brothers.
Charlie or Crazy Monte -- I will show you the life of my mind
The symbol of this character is the key point that the Coen brothers want to express, and it is also the lowest and most real life that Fink has emphasized countless times. He is the truest and most important friend of the filmmaker.
Charlie - a brother who tells you stories
and the embodiment of real life, although he lives a cruel and realistic life and is oppressed by the upper power (chased by two police detectives), his ears still bleed. His cries and laughter in the next room disturbed Funk. He came over to drink with Funk, taught Funk to wrestle, listened to Fink's eloquent talk, listened carefully, complained occasionally, and even helped Funk deal with Audrey's body , encouraging Fink to take courage. ---The Water Maniac Monte - Sanctions the justice in the cruel ordinary life of the
fallen butcher .
Possess supreme power. In the film, the police detective gave the murder list of Monte, one is an unscrupulous doctor who deceived him for medical expenses, Audrey, who represents the source of the depravity (although not necessarily killed by him), and Mayer, a self-indulgent alcoholic writer, is still alive. In the fire, shouting i will show you the life of my mind ended the power of the two detectives. Then he broke open the steel pipe with his bare hands and rescued Funk from the fire. He roared and questioned Funk, "Look at this junkyard, you're just a passerby with a typewriter, I'm the aboriginal here, you broke into my house and complained that I was too loud!?" Every word, every word, is the ultimate satire of the current art workers, who hold a typewriter high above and describe the life at the bottom. Self-confidence is above life. Laughing at the noise of life at the bottom, the pus from Monte's ear should be flowing out of this, he has heard enough, and Monte in the blazing fire upholds justice with great power. He himself is the embodiment of a cruel and ruthless life. ---The water that capsizes the boat
In fact, Monte is Charlie, and Charlie is Monte, and in the end, in a sea of fire, he returned to his room and told Funk, "If you need me. I'll be next door"
Barton Fink - a passerby
Funk with a typewriter It is those young people who are rushing to the palace of art with dreams. They are talented, but also arrogant and arrogant under the flattery of the outside world, and lose themselves in the impact of reality.
Fink endured the harsh environment of the hotel (hot peeling wallpaper, mosquito bites, the sound of the bed next door) and also shows the physical and mental tempering and suffering of literary creators during the creation period. Later, he was seduced by Audrey and almost fell into the abyss (who killed Audrey doesn't really matter, whether it was Funk's original intention to never fall or Monte. This is the inner cry of the Coen brothers) The boss in the film Kissing Funk's feet, he went home and opened the bible and found that the first two chapters were exactly what he had written, and his frantic dancing at the navy ball, shouting that I am the creator, and that the navy ball was just for the sake of To celebrate the work I created. It's enough to show Funk's inner expansion at that time. It is also a wake-up call for newcomers by the director.
After the final dance party turned into a disaster, Funk almost died in the hotel fire, and Monte rescued Funk. Leave with his work and the box Charlie gave him. Of course, his work will be scolded as shit by the boss. Of course, the boss wants a physical fight, not a wrestler's soul fight.
Funk walks the beach with the box. A woman approached, and the woman asked him what was in the box, and he said "don't know". The woman asked again, did the box belong to him, and he also said, "I don't know." This box was thrown to the world by the director. What does a filmmaker want and how should he deal with it. Finally, Fink saw the back of the woman in the sunset. He said, "You are so beautiful, are you the person in the painting?" In the final analysis, art is the pursuit of beauty, and this is Funk's unchanging original intention. It is also the original intention of filmmakers.
In the end, the woman raised her arm and left a back image to freeze in the sunset, exactly the same as the painting of the hotel that began to attract Funk. Start from the beginning, do it all in one go.
Alas. . Do not forget the early heart. Don't forget your original intention! !
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