![]() ![]() Granted, a Wallace Beery wrestling B-movie may not be the best venue for exposing the soul of blue-collar America, but Fink’s inability to start writing the script is a much bigger problem than the cliched material he’s been given. At the very least, he’ll receive a steady, handsome income and a chance to further hone his craft. Fink isn’t particularly excited to write for the pictures, having already set his sights on reinventing the grammar of theatre itself in order to create the next great American Epic about the common man, for the common man, despite being chronically incapable of interacting with said common man. Set in 1941, Barton Fink stars John Turturro in the titular role of an anxious young Broadway writer whisked off to Hollywood almost immediately after his newest play debuts to revelatory reviews. Her brainy, abrasive persona and preternatural expressiveness are cannily utilized in both films, and Davis emerges as an essential element of their respective successes despite her minimal screen time. And both serve as vivid showcases for the talents of Judy Davis, 1991’s NYFCC winner for Best Supporting Actress, who unfussily acquits herself to two very different, aesthetically demanding milieus. Both are directed by major auteurs and styled to the fucking nines, making their settings as accessible as they need to be while fulfilling some impenetrably strange narrative conceits. Both tackle the incredibly mundane ache of loneliness and toil of their work, albeit against obstacles like axe murderers and global drug conspiracies. Both follow writers - one a lifelong devotee of the trade, one quite new to it - who are suddenly plucked from their old lives and dropped into entirely alien worlds, with few reliable sources to guide them. ![]() Before each Smackdown, Nick Taylor looks at possibilities for an alternate ballot.īarton Fink and Naked Lunch are two 1991 films with more in common than you'd expect. ![]()
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