#Inside llewyn davis driver#
Kennedy” ( a playful riff on the Vietnam-era fears), featuring an “Outer Space”-ing Adam Driver in one of the definitive scenes of his still-early career.
And it’s not solely because of a soulful, T-Bone Burnett-produced soundtrack that includes both soothing folk ballads (with a couple of exceptions, mostly sang and played by the cast) and the fun yet bizarre track “Please Mr. Much like a folk song, the deceptively simple “Inside Llewyn Davis” sneaks up on you-by the end of it, you are ready to swear it’s a film that’s always been here, and one whose welcome will never wear out. This profound musing is offered by Llewyn Davis to a live audience at the start of Joel and Ethan Coen’s melancholic tale of determination and failure, after he leans into a microphone with an acoustic guitar in hand and sings, with the gentlest of clarity, “Hang me, oh, hang me.” While the singer’s words on folk songs reflect on his chosen type of music, they equally apply to the enduring quality of “ Inside Llewyn Davis.” With the tenderness of its main protagonist’s instrument and the reflective lyrics of his opening tune that prophesies, “I’ll be dead and gone,” the Coen Brothers’ existential voyage into the dusty, smoky folk scene of New York’s Greenwich Village circa 1961 feels new but timeless, old yet somehow fresh, modest and meaningful all at once, all the way from its haunting beginning.
“If it was never new, and it never gets old, then it’s a folk song.” This feature is a part of a series on the best films of the 2010s, resulting from our ranked top 25, which you can read here. This piece was published on Novemand is being republished for Women Writers Week.
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