Focus Features | USA | 105 mins
A Serious Man comes from the genius minds of the Coen Brothers who’ve once again delivered a film of utter brilliance, ranking among their best films. It is also one of their most profound yet: a dark comedic tale of a man who’s life has been consistently on autopilot up until a chain of events leads him into a downward spiral of despair and questioning.
The year is 1967 and the story revolves around Larry Gopnik (Michael Stuhlbarg), a professor at a small Midwestern university. He’s lived his life coasting by, not questioning the important things in life. He receives everything with simplicity and, for a while, this works for him. But, soon enough, his wife Judith (Sari Lennick) leaves him, his career falls into peril, he’s being black mailed and he’s struggling with financial problems. Once this chain reaction of horrible events happens, Larry finally starts to question things.
The film poses many quintessential questions about life, the ones Larry is in search for. Does everything happen for a reason? Who’s in control? He has never considered these important questions up until this domino effect. As the story progresses things only get worse for Larry. After seeking guidance in three rabbis he’s only left with more questions and no answers.
There are parallels throughout the story that add to many of the ideas present, such as Larry and his son’s similar character arc. Through most of the story his son Danny (Aaron Wolf) does exactly what Larry has done his whole life, avoiding problems and just letting things happen. Another similarity between the two the lack of advice wither receives from those around them once they start questioning things. Danny’s friends in particular fills each one of his answers/suggestions with unnecessary profanity. The more-than-incredible ending connects these themes and characters together. And while some may complain about an ending similar, in tone, to the disputed non-finale of No Country for Old Men, it is connected to the main theme of the story and does its job superbly here.
In usual Coen Brothers fashion, this is a beautifully crafted film. From an array of fantastically composed shots to adding little nuances and details to symbolize a greater meaning. There’s many similarities to their previous films such, i.e. a tortued protagonist who continues to be tortured. They obviously have a clear love for their characters, but it seems as if they constantly force them into downward spirals. They also interject another profound motif through a certain Jefferson’s Airplane’s song, which is ironic and well-played. That song is a prime example of the small nuances they bring along with a terrific script.
The film’s opening prologue further represents the narrative of A Serious Man and that of the Coens’ recent (and not so recent) story arcs; a simple mistake leads to a domino effect of horrible events. While the Coen Brothers have stated that there is no connection, there is one that can easily be made. In the prologue, a man is invited to a dinner that ends with murder. The narrative and storytelling techniques replicate plenty of other Coen Brother films, like Burn After Reading and No Country for Old Men, where small mistakes lead to bigger conflicts.
Stuhlbarg delivers a career-defining performance that ranks amongst the year’s best, as he crafts Larry to perfection. Just like the opening quote, Larry receives everything with simplicity and Stuhlbarg portrays this triumphantly. He does undoubtedly make Larry highly sympathetic and generally likable, but he also portrays a very flawed and imperfect man. He’s someone who, in many ways, forsakes life and doesn’t appreciate the finer things. Stuhlbarg leaves a perfect sense that Larry has lived his whole life this way and would most likely continue this way of life if this string of events didn’t happen to him. All the supporting cast is fantastic, but the real standout from the side characters is Fred Melamed as Sy Ableman, Larry’s wife’s new boyfriend. Despite being a part of Larry’s destruction, it is intriguing how his character represents what Larry wants to be: respected and in control. Melamed is uproariously funny, remaining sympathetic towards Larry and whilst screwing him over.
A Serious Man is an incredible and beautifully profound film. It features everything a signature great Coen brother’s film has i.e a terrific script, tour de force performances, brilliant storytelling nuances and downright hilarity at all the right moments. It’s one of the best films of the year and ranks amongst the Coens’ greatest works.