A Serious Man Review

A Serious Man
Written and Directed by: Joel and Ethan Coen
Starring: Michael Stuhlbarg, Richard Kind, Fred Melamed, Aaron Wolff

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In an age of high profile franchise blockbusters, months in advance it becomes very apparent via very expensive marketing campaigns what the year’s event films are going to be. For me though, it is instead a handful of directors’ names that predetermine who is getting my money and attention. It should be obvious by the fact that I’d even write this that the Coen Brothers are on this list, and it’s wonderful to have such a list when it means you can walk into one of their films relatively cold. It also brings an entirely different set of expectations than you’d give something that has spent months doing everything it can to impress you.

My expectations from the Coens have become numerous — I now demand a higher level of quality. I look forward to a certain kind of dialogue, where side characters repeat each others’ names with condescending derision and yes, may even have catchphrases. They are realistic but ridiculous, lovable but also worthy of being shit upon by each other at any given moment for my entertainment. I expect that the plot will have moments where doing the right thing is punished worse than doing something underhanded. And of course, if Roger Deakins is on board, it will look fantastic. The Coens tick off all these marks with ease here, in a film I would argue is a Coen film for Coen fanboys. Do the Coens have a formula? Sort of, but to use a catchphrase from A Serious Man, they’re also Fuckers. This is their true trademark, and I am happy to say I was fucked with more than enough times in A Serious Man to get more than I expected.

A Serious Man takes place in the late ’60s (when the Coens would have been coming of age), specifically within a suburban Jewish community. A professor named Larry Gopnik (played brilliantly in a reactive performance by Michael Stuhlbarg, who I had never seen in anything else before) faces a number of mundane stresses: relationship issues, a son about to go through his bar mitzvah, apprehension over getting tenure, a property line issue, an unhappy student, an overdue record club bill, and a brother going through a personal (and grossly physical) crisis. Gopnik tries to cope with these issues by consulting a progressively aged triad of rabbis who may or may not be doing him many favors. While this may seem dry, the Coens’ sense of character and dialogue make A Serious Man very darkly funny. It is also extremely bleak though, perhaps devastating for some, as it basically retells the book of Job through the Coens’ twisted lenses, shitting all over Gopnik at every opportunity. This is a screwball tragedy, made all the worse by unleashing this hell upon a very sympathetic character.

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The religious framing keeps the film moving along at a strong pace. Gopnik’s Dante Hicks-ish cry of “I didn’t do anything!” summarizes much of his plight as he tries to find an answer about what he can do for others – or for God so he will stop the onslaught. By the end, the point is made pretty clear: God can do whatever he wants. He has the power in the relationship, you don’t. In dealing with one specific problem he is encouraged to “accept the mystery”, and his failure to do so may be his undoing. His search leads him to a series of rabbis; one (fantastically hinted at by the wonderful shot which cuts “Rabbi” off his nameplate) young and hard to take seriously, another who spins detailed yarns that don’t really point to anywhere, and one which is too busy for his most needy follower. The story the second rabbi tells may be my favorite moment of the entire film; its specific choice of soundtrack and the way it is told reminded me very much of how Quentin Tarantino has his characters tell stories.

Like most Coen movies, there is quite a bit that comes across as silly, and it is clearly by design. Many have often said the Coens take too much glee in the horrors their characters go through, and none of them would change their mind after seeing A Serious Man. Some characters are not much more than caricatures, possibly even less, who exist to annoy and make the protagonist’s life all the more worth letting go of. But others take these restrictions and just run with them. Fred Melamed is particularly great as Sy, who is deceptively casual in his dealings with Gopnik’s wife. Also good is Aaron Wolff, Gopnik’s son, who has his own mundane problems involving twenty dollars, a radio, and F-Troop. Richard Kind is utterly pitiable as Larry’s brother, a mathematical genius who has even less to be happy about in life. This ensemble cast may overall be less recognizable than any of the Coens’ casts to date. Fyvesh Finkel may be the most well known actor, who appears in a strange preamble to the film as a possible ghost (the nature of whom is still a mystery even through the credits). The point of this initial scene isn’t crystal clear to me, but until proven wrong I prefer to think it suggests a curse has been following Gopnik’s family, which would now include his son, for generations.

Roger Deakins’ photography work is a treat once again, subtle compared to some of his recent work because most of A Serious Man is happening inside and just outside of very ordinary track houses. He still manages to capture great shots including an elderly rabbi’s study and a view from the ceiling of the Jewish temple. It made me want to rewatch Doubt and look if he is repurposing any of his ideas from that film.

I don’t know if A Serious Man is for everyone, but for my tastes it is a perfect film. I immediately knew after seeing it that it was my favorite film of the year to date — even more so after a second viewing. The only thing I don’t like about A Serious Man is that it has to move so many of my other favorite Coen films down a notch in my overall ranking of their filmography. The Fuckers. – Goon

SCORE: 4 stars



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  • I 100% agree. A perfect film.

  • Well Said Goon (particularly what you expectations are of the Brothers Coen). A Serious Man is also a favourite of mine for 2009.

  • Jim the Movie Freak

    Best film of the year, I think : )

  • Tommy

    I will probably buy it used (DVD). Looks good and I can relate to some of it.

  • xego

    I feel guilty not going to see this in the theater. I feel personal responsibility to support filmmakers that bring us quality.

  • Anthony

    A headache. A disgrace for the Coen brothers. Few moments. No plot. No purpose. A worst movie of the year. Do not pay money or your time to see this. You will leave dissapointed.

  • Goon

    can you expand on any of that Anthony, because I see assertions but nothing to back yourself up with.

  • Mike

    Left the movie half way through…..it was god awful. No plot to speak of. I think you may need to be Jewish to like or understand any of the stick. Terrible!!!!!

  • Goon

    I have to wonder what some peoples definitions of ‘plot’ is when they don’t think there’s any plot to this film. Especially strange to hear complaints about it from someone who doesn’t see it through to the end.

  • Goon

    dictionary definition

    “4. The pattern of events or main story in a narrative or drama.”

    So with this in mind, I’d like to hear any detailed response about how ASM has no plot, rather than just assertions.

  • mike

    Just saw this movie. As a man of a certain age, I thought it was terrific, a perfect film. My teenage daughters fell asleep/ It is a man’s movie.

  • Craig

    The movie was mediocre to say the least up until the end when it took a nose dive into being completely superflous. There is no concrete ending (it just cuts out after introducing new crucial elements to the story line). I know that the latter statement will ultimately send up some flares on the subjectivity of ‘art’ in films and everyone has an interpretation and blah, blah, but how can you interpret something that isn’t presented? Assumptions? From my experience, assumptions have never satisfied a lacking plot structure or curiosity. This movie was very forgettable and very jewish.

  • Goon

    “There is no concrete ending…”

    I think thats a simple analysis. The ending is both a new beginning and a statement about everything that has just happened… from the carrying on of the curse, hints that it is punishment for Larry’s changing the grade after everything else had seemingly started to be better for him, and of course a reference to the book of Job (God as a storm) which the movie is loosely based on.

    So it has multiple levels, and yes there is ambiguity, but that is also one of the major themes of the film, action/inaction, not being sure what to do, and all of that is set up with that opening “Dybbuk?” scene.

    I still think its a perfect movie, but I guess in order to think that you have to be fine with a film that doesn’t wrap up everything in a neat little bow. It’s not like a Clint Eastwood or Taylor Hackford movie where they’ll flash back so the dumbest person in the room gets exactly what is intended. If this movies a problem, don’t even think of renting Synecdoche New York.

  • Mason

    I just watched ASM, and liked it a lot, but was mystified by all the hidden meanings on the first viewing. A lot went over my head on the first viewing. Then I found this analysis, which helped me appreciate it much more. http://theamericanscene.com/2009/10/09/Some+Thoughts+on+A+Serious+Man
    Wow. Can’t wait to see how the film plays for me in a 2nd viewing after some time passes.
    Also, I think this is the darkest of all their “comedies”. More of a drama with a lot of weirdness. Similar in tone to Burn after Reading, but smaller in scope. Actually there were a lot of references to The Big Lebowski, but they could have been unintentional. (Santana’s Abraxis contains Oyo Como Va, the song that plays over the scene in TBL where they are driving back from Larry Seller’s house eating In N’ Out Burgers. Shabbas).