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Van Ronk, "The Mayor of
Macdougal Street," a mainstay and centerpiece of the Greenwich Village folk scene. This is nonsense. Llewyn shares one or two biographical details with Van Ronk, but has none of his personality. More importantly, he has none of Van Ronk's expansiveness, his desire to reach out, to promote, to connect. Llewyn is a very inward singer, up in his own head. He demands that the audience comes to him. That demand, in fact, is, I think what the protagonist wants. Llewyn Davis wants success, craves it, but insists that it be on his own terms." Robert Christgau also noted that the character desired authenticity as among the most important and valued aspects of being a musician: "e know that when Jean warns him to plan for his future, Llewyn equates that inescapability with flying cars and Tang and brands Jean "careerist," "square," and "suburban" for thinking about it. We also know Llewyn's definition of a folk song because it's damn near the first words out of his mouth that don't have a tune attached: "If it's never been new and it never gets old, it's a folk song." However, Christgau notes that his desire for authenticity is hypocritical, calling Davis an "angry character", while pondering the cause of the character's anger. Christgau continued, "We don't know —lots of men are angry. But maybe, the film suggests, that's what drives his passion for his incoherent notion of authenticity. After all, the worst tirade of his bad week by far is the sexist bile he spews at the most certifiably "authentic" musician we get to see: autoharp-strumming Elizabeth Hobby from Arkansas, played by Missouri-born modern folk performer Nancy Blake. "I hate fuckin' folk music," he shouts.
291:)'s suicide. He speculates, "in the small circle of Llewyn, Jim, Jean and the Gorfeins, and probably in the coffee-house community at large, Mike was the glue that held them together", and believes that Davis fell apart after Mike's death. He connects this observation to a scene in which "after Bud Grossman tells Llewyn he doesn't have the charisma to front his own act, Llewyn says he used to have a partner and Bud responds, "Yeah, that makes sense."" Adams further analyzes that Llewyn Davis' story is not one of a man who continues to fail and is destined to fail, but about a man struggling with depression and unable to move forward as an artist or in life. He believes that his depression has cast him into "a
412:, a folk singer who experienced the Greenwich Village of the 1970s and also befriended Van Ronk around the time said, "I feel they took a vibrant, crackling, competitive, romantic, communal, crazy, drunken, brawling scene and crumpled it into a slow brown sad movie". Van Ronk's ex-wife, Terri Thal, writes, "What bothers me is that the movie doesn't show those days, those people, that world. In the movie, Llewyn Davis is a not-very smart, somewhat selfish, confused young man for whom music is a way to make a living. It's not a calling, as it was for David and for some others. No one in the film seems to love music. The character who represents
239:, Isaac further noted, "Well, I knew that it was loosely based on Dave Van Ronk , and he was like a six-foot-five, 250 pound Swede. So I came in, and out of the corner of my eye I saw a photograph of a very well-known musician—and I was encouraged because it was a guy who was a little smaller and a dark haired and had a beard. I was like, "So you guys have that picture as kind of a reference?" And they're like, "Oh yeah. He came in. He killed it." The blood just drained out of my face. But then I did the audition and it went well and they called me back." He also describes being influenced by Erik Franzen, an old friend of
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growling voice of Dave Van Ronk, whom they described as "the ultimate blues shouter." Ethan Coen noted that music was the most important aspect of Llewyn Davis' character, in that it completely defined him. He discussed that to Llewyn Davis, folk music is "his life" and that it "reveals something about him that see somewhere else". The Coen
Brothers felt that Llewyn Davis' sarcastic, acerbic, and unpleasant attitude was contradicted by his sweet, alluring singing voice, causing many people to question whether they should like the character or hate him. In the same way, the character of Roland Turner (
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rubbing someone else's stomach—in another country." Isaac described his audition process thus: "I first auditioned for the casting director, did a few scenes. Then I went home and recorded myself playing "Hang Me." That got sent to the Coens. Then I came in and auditioned for them, learned a few extra songs just in case. They sent that over to T Bone. And T Bone said, 'I think we've found our Hitler!'" Oscar Isaac "was the opposite of what had initially been looking for: a classically trained actor. But he could also sing and play guitar." In an interview with
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of lies. In this way, he's an excellent role model for millennials: a guy with talent and an independent spirit, broke but not yet broken, cynical as all hell but still doing what he loves anyway. Fate seems to love nothing more than to kick him when he's down, and yet, he somehow gets up and keeps on going. Believe it or not, the art of failure is actually harder to master than it looks because you really have to keep on trying in order to fail consistently." Christopher Orr of
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he sings "Hang Me, Oh Hang Me," not to be confused with "Dang Me." "Wouldn't mind the hangin', except for layin' in the grave so long," he sings, with a good amount of sincerity. The time is 1961, the place is New York City, and the venue where Llewyn—portrayed with haunting conviction by Oscar Isaac, who, like everyone else in the cast, does his own singing and playing—is picking and not grinning is the
Gaslight, a soon-to-be-legendary landmark in the "folk revival."
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243:'s, who Isaac says "started teaching me this Travis-style picking, which I was not aware of—didn't know how to do it. It's this crazy syncopation. We'd play and I paid him for lessons and then we started playing in the Village. I opened for him a couple times at these open mics. He was like a trainer—the last day before the audition I played for him and then he looked at me and goes "I see the big guy behind you giving the thumb's up."
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writes, "Llewyn's repertoire and some aspects of his background are borrowed from Dave Van Ronk, who loomed large on the New York folk scene in its pre-Bob Dylan hootenanny-and-autoharp phase. Oscar Isaac, who plays both Llewyn and the guitar with offhand virtuosity, is slighter of build and scowlier
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coordinating an expressive folk music sampler, and actors performing songs as character shading. Isaac's opener, the plaintive traditional Hang Me … Oh Hang Me, reveals as much of his restless spirit as his talent." Marc Mohan writes that, "Davis is played by Oscar Isaac, who has toiled in supporting
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wrote that Davis is "beautifully played by Oscar Isaac". Reviewer
Phillip Kemp writes, "Isaac, who proves to have a strong singing voice, performs the folksongs in perfect period style and succeeds in making Llewyn, for all his prickliness, an unexpectedly likeable, melancholic figure." Steve Persall
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writes, "We cannot imagine Llewyn Davis happy. The self-defeating
Sisyphus of the new film written, directed, and edited by Joel and Ethan Coen is the first person the viewer lays eyes on in the movie. Bearded, his unkempt hair falling in his eyes, he picks out some steely, blue notes on a guitar as
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One of the key elements to Llewyn Davis' musicality is his desire to maintain authenticity as an artist. Despite being partially based on Dave Van Ronk, some reviewers noted several distinctions between the two in their artistry: "It's been bandied about that the character of Llewyn is based on Dave
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Critic Amy Klein writes that Davis' "story serves as a dramatic counterpoint to certain beliefs about
America that young Americans do not trust anymore: it is, and has always been, a myth that hard work and talent get a person ahead, but Llewyn Davis has to learn firsthand that he's been fed a bunch
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The Coen
Brothers distinguished the character from his source of inspiration, Dave Van Ronk, by casting an actor who had an entirely different singing voice and style of guitar playing. The Coen Brothers described that Oscar Isaac as Davis has "this beautiful tenor voice" in contrast to the rough,
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Oscar Isaac described his character as "such an internal guy...an island, shut off from everyone else." Isaac, described antithetically against his character as "a naturally warm personality", said that he prepared for the role by simply approaching random strangers at parties and talking to them,
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said of Isaac, "I haven't worked with an actor who could play and sing this style of music this well." "You can't do it with bluster; you have to do it with the rawest honesty you can." Isaac also developed a style of finger-picking that
Burnett explains is "a little bit like patting your head and
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Despite receiving universal acclaim from critics, Llewyn Davis was panned by those who experienced the
Greenwich Village in the 1960s or knew Dave Van Ronk personally. Folk artist Christie Lavin, a friend of Van Ronk, wrote, "I HATE THIS FILM..." Am outraged that the Coens took such a colorful
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so much so that the opinions of others do not matter to him. However, Isaac believes that this is not a quality of confidence from Davis, but of spite and apathy, which further "alienates him" and "causes him to lack some empathy". The character has been described as "brooding, depressed, and
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scene who detested the film's presentation of the
Greenwich Village and the Llewyn Davis character, Aimee Levitt notes that the film is purposely bleak because it is seen through the eyes of a depressed character. She writes, "Nobody gives a shit about his music. His singing partner has just
271:), the latter tells him "I don't see a lot of money here" and implicitly compares him to a genial G.I.-turned-musician: "He connects with people." As a person, Llewyn is easily wounded and spectacularly selfish, an "asshole" who, among other trespasses, gets his best friend's girl (
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of mien than Van Ronk, with a fine, clear tenor singing voice...Mr. Isaac, a versatile character actor here ascending to the highest levels of his craft, refuses the easy road of charm. Like his character, he trusts his own professionalism and the integrity of the material."
343:". He notes that Davis' musicality is of utmost importance to him, and that he has a mission to maintain the authenticity that he ascribes to the village, which will ironically "desert Llewyn and all he stands for...following the trailblazing path of the famous
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roles for the last few years but anchors this film with a star-making, soulful performance that includes haunting renditions of traditional tunes such as "Hang Me, Oh Hang Me" (which opens the movie) and "The Death of Queen Jane." Calvin Wilson of the
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considers Davis to be a cyclical, Sisyphean type character, who has an ironic journey in which he is doomed to failure and doesn't know it; whereas the audience is in on the joke. He describes the character as "stuck in a nightmare version of
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Robert Christgau observed of Llewyn that "here's an anger in Llewyn that appears to predate his partner Mike's suicide" and thought that the character was probably unstable and moody for a long time. However, Sam Adams of
328:), a jazz musician and heroin addict who antagonizes Llewyn when he hitchhikes a ride with him to Chicago, has been interpreted as a possible older version of the Llewyn Davis character. In an interview with
279:) for money to pay for her abortion. Inside Llewyn Davis is thus simultaneously the name of the film, of Llewyn's solo album, and of his psychological condition: He is himself trapped inside Llewyn Davis."
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opens intimately with Llewyn, a role inhabited in body and voice by Oscar Isaac, performing on the Gaslight Cafe stage. Music is more vital than ever in the Coens' storytelling, with frequent collaborator
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writes that "The Coens... emphasize that Van Ronk's story was only the seed of a fiction, and were pleased to cast Isaac in the title role partly because he's so unlike Van Ronk physically."
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irritable", and his "blend of artistic idealism and brooding cynicism are irreconcilable, and seem certain to keep him locked in place – alone, broke, staring out into an uncertain future."
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committed suicide. He's alienated all his family and friends and has to hit up strangers to find a place to stay. The whole movie's told from his point of view, and there's nothing, even
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has a pasted-on smile and is a smug person who doesn't at all resemble the smart, funny, witty Tom Paxton who was our best man when we married." In response to some folk singers from the
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In his high school days, Isaac was previously involved in two punk bands and lived a straight-edge lifestyle. Grammy winning producer T-Bone Burnett, who worked with the Coen brothers on
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writes that, "As an artist, he's remote and self-absorbed, despite his clear talent. When he visits Chicago to play for the powerful manager Bud Grossman (
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Oscar Isaac was praised for his portrayal of Llewyn Davis, and the character received universal acclaim from film critics. Kenneth Turan of the
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character and interpreted him as a doofus," in reference to what she viewed as a disrespectful interpretation of the late folk singer.
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disagreed with this assertion, believing that Davis' sour and cold personality was the direct result of Mike Timlin (singing voice of
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183:. He is a young, struggling folk singer trying to become more famous and financially successful after the flop of his debut album,
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332:, Goodman says that his character is "a possible alternate future for Llewyn. He could turn out this way too." Philip Pantuso of
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wrote that the film suggests Llewyn Davis' anger is "what drives his passion for his incoherent notion of authenticity."
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without trying to impress them or putting on a friendly facade." Isaac notes that the character is someone who desires
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701:"Amy Klein (Leda, Hilly Eye, Titus Andronicus) Talks Inside Llewyn Davis and the Art of Failure"
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998:"'Inside Llewyn Davis' review: Coen Brothers tackle '60s folk in one of the year's best films"
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211:" as an influence for the screenplay and Llewyn Davis' journey. The album cover and title of
643:"Oscar Isaac, the authentic voice at the center of Coen brothers' new 'Inside Llewyn Davis'"
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849:"John Goodman on 'Inside Llewyn Davis,' the Pull of the Coen Brothers, and Needing a Break"
530:"Oscar Isaac interview for Inside Llewyn Davis: 'I had no interest in going off the rails'"
299:" and that the character finally begins to accept that his life and career won't progress.
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207:. That's the beginning of a movie." The Coen Brothers used "Van Ronk's posthumous memoir,
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388:. And like Pacino, he has a gift for being appealing even when he's unpleasant." Critic
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When creating the character of Llewyn Davis, Joel Coen summed up the idea as "suppose
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914:"Review: The Coen brothers' 'Inside Llewyn Davis' doesn't miss a beat"
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821:"Cannes 2013: The musical side of the Coens' 'Inside Llewyn Davis'"
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764:"'Inside Llewyn Davis' Isn't About Failure. It's About Depression"
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notes that "Isaac, who also shared the screen with Mulligan in
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1214:"Dave Van Ronk's Ex-Wife Takes Us Inside Inside Llewyn Davis"
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275:) pregnant and then surreptitiously asks said best friend (
1048:"'Inside Llewyn Davis' is the Coen Brothers at their best"
970:"Review: 'Inside Llewyn Davis' is strange but satisfying"
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1179:"Suzanne Vega Has Her Own Issues With 'Llewyn Davis'"
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1242:"The folk-song army's attack on Inside Llewyn Davis"
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215:is also directly inspired by Dave Van Ronk's album
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1329:Inside Llewyn Davis: Original Soundtrack Recording
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587:"How the Coen Brothers Cast 'Inside Llewyn Davis'"
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559:"Interview: Oscar Isaac of Inside Llewyn Davis"
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16:Fictional protagonist of Inside Llelwyn Davis
1116:"Melancholy Odyssey Through the Folk Scene"
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1144:"A Folkie Takes Issue With 'Llewyn Davis'"
384:, may remind some moviegoers of the young
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1475:Fictional characters based on real people
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1480:Fictional characters from New York City
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730:Orr, Christopher (September 29, 2014).
527:McNulty, Bernadette (January 6, 2014).
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615:"How Oscar Isaac Became Llewyn Davis"
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1045:Wilson, Calvin (December 19, 2013).
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219:. In describing how Isaac was cast,
912:Turan, Kenneth (December 5, 2013).
882:"Reconsidering the Cosmic Irony of
880:Pantuso, Philip (January 8, 2014).
847:Knolle, Sharon (December 3, 2013).
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670:"Llewyn Davis: Inside Llewyn Davis"
641:Catlin, Roger (December 13, 2013).
585:Dodes, Rachel (November 29, 2013).
557:Nicholson, Amy (December 4, 2013).
449:Haglund, David (December 2, 2013).
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1485:Film characters introduced in 2013
1240:Levitt, Aimee (January 17, 2014).
1177:Ryzik, Melena (January 10, 2014).
968:Persall, Steve (January 8, 2014).
940:Kemp, Phillip (January 20, 2014).
613:Hiatt, Brian (December 12, 2013).
14:
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1212:Thal, Terri (December 13, 2013).
1142:Ryzik, Melena (January 6, 2014).
1025:"Oscar Isaac movies and tv shows"
996:Mohan, Marc (December 17, 2014).
790:Alcott, Todd (January 21, 2014).
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762:Adams, Sam (December 19, 2013).
425:leading a big old hootenanny in
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495:"The Coen Brothers' Real Deal"
247:Characterization and portrayal
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209:The Mayor of MacDougal Street
1428:Fare Thee Well (Dink's Song)
942:"Inside Llewyn Davis review"
792:"Deeper Inside Llewyn Davis"
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38:Oscar Isaac as Llewyn Davis
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341:Nietzsche's eternal return
229:O Brother, Where Art Thou?
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1400:The Last Thing on My Mind
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499:www.insidellewyndavis.com
451:"The People Who Inspired
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203:gets beat up outside of
1505:Male characters in film
1421:The Death of Queen Jane
1054:St. Louis Post-Dispatch
592:The Wall Street Journal
375:St. Louis Post Dispatch
64:In-universe information
1515:Comedy film characters
1339:Real-life inspirations
427:Washington Square Park
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187:. He was portrayed by
121:Joy née Davis (sister)
1510:Drama film characters
1407:The Shoals of Herring
1085:"Inside Llewyn Davis"
711:on September 22, 2015
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1495:Fictional guitarists
1352:Inside Dave Van Ronk
1114:(December 5, 2013).
1083:(December 6, 2013).
861:on December 23, 2015
732:"30 Years of Coens:
217:Inside Dave Van Ronk
195:Casting and creation
1470:Inside Llewyn Davis
1297:Inside Llewyn Davis
1193:on January 10, 2014
884:Inside Llewyn Davis
734:Inside Llewyn Davis
648:The Washington Post
536:The Daily Telegraph
505:on February 9, 2014
453:Inside Llewyn Davis
364:Inside Llewyn Davis
295:loop, a depressive
213:Inside Llewyn Davis
185:Inside Llewyn Davis
180:Inside Llewyn Davis
115:Hugh Davis (father)
21:Fictional character
1187:The New York Times
1158:on January 6, 2014
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1121:The New York Times
400:The New York Times
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1500:Fictional singers
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1414:The Auld Triangle
1219:The Village Voice
919:Los Angeles Times
826:Los Angeles Times
564:The Village Voice
491:Christgau, Robert
418:Greenwich Village
358:Los Angeles Times
277:Justin Timberlake
269:F. Murray Abraham
205:Gerde's Folk City
165:) is a fictional
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