Cannes Film Festival – Official Competition, 2013
“If it was never new and it never gets old, it’s a folk song,” explains Llewyn Davis (Oscar Isaac) after yet another gig strumming his guitar at Greenwich Village’s Gaslamp in”Inside Llewyn Davis.” The film is full of folk tunes in its soundtrack as it recreates the pre-Dylan early 1960s scene in New York. Yet, in many ways, the Coen Brothers’ film itself is a folk song, if judged by the definition they provide.
Llewyn’s story is all too familiar – and one that hits close to home for anyone yet to achieve the lofty success they were promised with every participation medal. Most stories of musicians trying to enter into the business involve some measure of pain and frustration, but for Llewyn, the bad breaks seem almost cosmic. He’s always a smidgen too early or a moment too late to shake off the funk that seems to set a tone of frustration and misery for his life. “King Midas’ idiot brother,” his ex-flame Jean (Carey Mulligan) describes him, and by the end of the film, such a mythological explanation for Llewyn’s woes seems entirely possible.
It proves frustrating to watch him endure trial after tribulation, though not because the beats are tired. The doomed slacker routine may have been done before, but certainly not like Joel and Ethan Coen do it. Insomuch as the duo would ever make something so straightforward as a “personal” film, “Inside Llewyn Davis” addresses the price a person can pay for trying to maintain the purity of their art. Llewyn decries the easy, the accessible and the crowd-pleasing, lamenting anyone who panders to these attributes as sell-outs or careerists.