What Do You Call a Guitarist without a Girlfriend? Homeless

Rating: 5/10 (11 May 2014)

This screenplay seems to extend that joke to a full length film. I'm not sure if the not-so-great music in the film was supposed to be source of heart , or if it was supposed to reflect the losing formula of the character. There seems to be an intention to setup the audience for a moment of character growth for the struggling musician, only to have him turn it down, and continue struggling. These type of depressing films can work if we can sympathise with the main character. Oscar Isaac certainly is a likable actor, but we cannot sympathise at points where he acts like a jerk. I think of a lead character in a film as your friend. Because he's your friend, you will be interested in following his story. But when your friend rejects your advice and starts acting like a jerk around you, you start losing interest in his story.
What Coen brothers films are famous for are their side characters. Here we are treated to some fun moments, and strangely unfunny moments. By the third act, the screenplay's intentions become glaringly apparent, we the audience get to experience firsthand the rough life you go through when you are trying to survive when you are homeless. It is a serious subject, and there a multitude of real stories where in a bad economy, people become lost in finding their place in the world. The main reaction I had was that there were moments I could relate to personally, as a person who suffers from depression, so the screenplay successfully accomplishes it's purpose.
This film rates far better than "A Serious Man", another Coen brothers test that does it's best to defy audience's expectations with things like character development, and a traditional ending. I could appreciate this outing for the reason of the deliberate mood painted in poignant scenes. The expression of depression is well articulated. Going on a road trip with catatonic passengers. Fatally striking a cat with your car. Losing your job. Losing your girlfriend. Your music being rejected. Getting screwed with your old job. Losing your valuables. Like a top ten checklist of anxieties that can keep you up at night. The fact we can find humour in spots shows potential for sympathy, but on the whole I was left not wanting anything to do with a story that had no real heart or insight, like a traditional ending. I guess it was because I still believe an audience deserves some expectations fulfilled when paying to see your film.
I'm sure the screenwriter knows the difference. In "No Country For Old Men", the screenplay gives you the traditional character arc resolutions in the third act, albeit presented in a idiosyncratic way. Here, Llewyn gives little clue about where he is going, and leaves the audience feeling unfulfilled.