Kamera:
Roger DeakinsMusik:
Carter BurwellBesetzung:
Michael Stuhlbarg, Richard Kind, Fred Melamed, Sari Lennick, Aaron Wolff, Amy Landecker, George Wyner, Katherine Borowitz, Fyvush Finkel, Simon Helberg (mehr)Inhalte(1)
Eigentlich lebt Larry Gopnik ein beschauliches Leben in einer kleinen jüdischen Gemeinde im Mittleren Westen der USA. Er ist ein liebender Ehemann, fürsorglicher Vater und erfolgreicher Professor. Aber irgendwie läuft plötzlich nichts mehr so wie gewohnt. Larrys Gattin verlangt plötzlich die Scheidung, um mit ihrem selbstgefälligen neuen Liebhaber zusammenleben zu können. Sein Sohn schwänzt die Schule, die Tochter bestiehlt ihn, um sich eine Nasekorrektur finanzieren zu können. Sein psychisch labiler Bruder hockt ständig auf seiner Couch. Und als ob die Familie nicht schon genügend Probleme bereiten würde, gerät auch noch Larrys Karriere ins Trudeln: Anonyme Briefschreiber verbreiten falsche Anschuldigungen über ihn, und außerdem versucht ein Student, ihn zu bestechen. Larry sucht Hilfe, und hofft diese bei einem Rabbi zu finden. Doch auch das ist leichter gesagt, als bekommen… (Tobis)
(mehr)Kritiken (9)
You’ll never know why I am giving three stars! Ha, ha, ha, ha!
()
Die besten, zynischsten und ausgefeiltesten Coens seit The Man Who Wasn't There. Ein wunderbar unaufgeregter Film über einen Pechvogel, den Gott sehr liebte und ihn deshalb in vielen Widrigkeiten heimsuchte... Eine jüdische Anekdote mit einem absolut bestialischen Schluss.
()
Far from being the most kosher Coen movie, but, despite all of that “viewer-unfriendliness", it’s a good movie, although it isn’t even a bit funny. Even though it is clear not just from the ending that this movie was nothing other than one big joke from this brotherly duo. And, you have to give to them, it came off brilliantly (even though I started to have my suspicions after the Goy’s teeth episode).
()
With knowledge of any amount of Coen brothers' works, it will be clear after the first few minutes that the creative duo is once again trying something similar on us. The unfortunate protagonist (this time, once again, quite literally a life's failure) has bad luck at home, at work, and everywhere else, and the viewer can only wait to see where this pile of unfortunate events and mishaps will lead him. The narrative skill is certainly not lacking, but intentional vagueness and absurdity are only pleasantly original. Unfortunately, it is no longer particularly memorable.
()
A Serious Man is not among the ambitious titles in the Coen brothers' work, nor does it impress and engulf you at first sight. However, it got under my skin, and from it emerged - I would say a pleasant spectacle, but that wouldn't be true because it is actually a tragicomedy in the purest sense of the word. It is the story of a man who wanted to live righteously and exemplary, but the more seriously he tried, the more blows he received from his surroundings and life itself. The stylish prologue, which goes back deep into the history of the Jewish diaspora, does not seem to relate to the rest of the film at first glance, and it confuses the viewer and brings uncertain tension into the film regarding where it is all heading. It is a small film, a typical indie film about an unlucky hero who easily evokes empathy in the audience - and to whom it does not matter at all. Overall impression: 90%.
()
What on earth have the Coens done? Maybe it’s because I don’t like movies with a Jewish theme, nor am I too keen on the 70s, but I would be willing to come to terms with both if there had at least been some sort of story to it. The idea is good, but a couple of interesting shreds, some cases of director’s finesse and a powerful ending is just too little, IMHO.
()
Die ganze Zeit hatte ich ein ziemlich starkes Gefühl, das sich am Ende bestätigt hat: Die Coen-Brüder haben mit uns wieder einmal ihren Spaß getrieben. Diesmal ist es ein sehr seltsamer (noch seltsamer als in Barton Fink) und absurder Spaß, der aber ziemlich trocken, real und glaubhaft wirkt. Er entspricht dem Motto von Raschi, welches den Film eröffnet: "Nimm in Einfachheit alles hin, was dir widerfährt". Die ausgezeichneten Szenen aller Art werden durch die ständigen und vergeblichen Bemühungen des Haupthelden, alles zu verstehen, verbunden. Die 60er Jahre haben der Stimmung des Films sehr geholfen, was auch für Deakins’ Kamera und Burwells Musik gilt. Die Brüder haben einen weiteren Film gedreht, der zwar (Gott sei Dank) nicht für jeden ist, den man aber sehr leicht lieb gewinnen kann. Viereinhalb.
()
I like how the Coens, even in the case of this film, manage to maintain a pretty good sense of humor that warmly beckons you, not striving to make you laugh out loud, but wanting you to think a little, to empathize with the characters. However, in the end, you can't help but feel that it was actually a bit meaningless and that it is just trying to be clever.
()
I don't think I would wish for any truly serious person to live in such a panopticon. :)) Once again, the Coen brothers brilliantly play out a sometimes almost absurd game in which they manage to incorporate a very diverse range of characters in an excellent way. At times it really struck me as very cynical (to the point of feeling sorry for Larry), but we're pretty much used to that from the Coens. Craft-wise, there is nothing to complain about (the scene with the teeth and the message – it made my jaw drop:))) – it's stylish, fresh, new, sophisticated, it gradates exactly where it's supposed to, and most importantly – it's still "playful" and personal. I'm always glad for a film that goes against the current and that, though it may not be for everyone, everyone can find at least "their own thing" in it. I'm far from finished with the brothers' work, but at this point I rank A Serious Man really high, somewhere bordering on Fargo and just ahead of The Big Lebowski.)
()