Style
Barton Fink uses several stylistic conventions to accentuate the story's mood and give visual emphasis to particular themes. For example, the opening credits roll over the Hotel Earle's wallpaper, as the camera moves downward. This motion is repeated many times in the film, especially pursuant to Barton's claim that his job is to "plumb the depths" while writing. His first experiences in the Hotel Earle continue this trope; the bellhop Chet emerges from beneath the floor, suggesting the real activity is underground. Although Barton's floor is presumably six floors above the lobby, the interior of the elevator is shown only while it is descending. These elements – combined with many dramatic pauses, surreal dialogue, and implied threats of violence – create an atmosphere of extreme tension. The Coens explained that "the whole movie was supposed to feel like impending doom or catastrophe. And we definitely wanted it to end with an apocalyptic feeling".
The style of Barton Fink is also evocative – and representative – of films of the 1930s and '40s. As critic Michael Dunne points out: "Fink's heavy overcoat, his hat, his dark, drab suits come realistically out of the Thirties, but they come even more out of the films of the Thirties." The style of the Hotel Earle and atmosphere of various scenes also reflect the influence of pre-WWII filmmaking. Even Charlie's underwear matches that worn by his filmic hero Jack Oakie. At the same time, camera techniques used by the Coens in Barton Fink represent a combination of the classic with the original. Careful tracking shots and extreme close-ups distinguish the film as a product of the late 20th century.
From the start, the film moves continuously between Barton's subjective view of the world and one which is objective. After the opening credits roll, the camera pans down to Barton, watching the end of his play. Soon we see the audience from his point of view, cheering wildly for him. As he walks forward, he enters the shot and the viewer is returned to an objective point of view. This blurring of the subjective and objective returns in the final scene.
The shifting point of view coincides with the movie's subject matter: filmmaking. The movie begins with the end of a play, and the story explores the process of creation. This metanarrative approach is emphasized by the camera's focus in the first scene on Barton (who is mouthing the words spoken by actors offscreen), not on the play he is watching. As Rowell says: "hough we listen to one scene, we watch another. ... The separation of sound and picture shows a crucial dichotomy between two 'views' of artifice: the world created by the protagonist (his play) and the world outside it (what goes in to creating a performance)."
The film also employs numerous foreshadowing techniques. Signifying the probable contents of the package Charlie leaves with Barton, the word "head" appears sixty times in the original screenplay. In a grim nod to later events, Charlie describes his positive attitude toward his "job" of selling insurance: "Fire, theft and casualty are not things that only happen to other people."
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Famous quotes containing the word style:
“His style is eminently colloquial, and no wonder it is strange to meet with in a book. It is not literary or classical; it has not the music of poetry, nor the pomp of philosophy, but the rhythms and cadences of conversation endlessly repeated.”
—Henry David Thoreau (1817–1862)
“It is not in our drawing-rooms that we should look to judge of the intrinsic worth of any style of dress. The street-car is a truer crucible of its inherent value.”
—Elizabeth Stuart Phelps (1844–1911)
“Style is the dress of thoughts; and let them be ever so just, if your style is homely, coarse, and vulgar, they will appear to as much disadvantage, and be as ill received, as your person, though ever so well-proportioned, would if dressed in rags, dirt, and tatters.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)