Morgan McBride

Engl 367 Intro to Film

Prof Spadoni
Dec 8, 2011
Barton Fin! "#e $ncommon Man
"#e film Barton Fink % &oel 'oen, 1((1 ) center* on t#e title c#aracter+* e,perience
-riting film *cript* in .oll/-ood, -#ere #e fear* #e -ill 0ecome detac#ed from #i* main
foc1*, t#e common man2 De*pite #i* repeated claim* of 1nder*tanding of and re*pect for
t#e common man, a* t#e film goe* on t#e *eparation 0et-een Barton and t#e -oring
cla** 0ecome* clearer2 "#ere are *e3eral important common men t#ro1g#o1t t#e film,
mared 0/ t#eir appearance in 1niform, -#o*e interaction* -it# Barton e,po*e t#e man/
difference* t#at i*olate #im from t#e cla** #e *o admire*2 4#ile Barton *ee* to em1late
t#e common man t#ro1g# #i* -riting, 1nder*tanding, and re*pect, #e i* ne3er a0le to
-#ole#eartedl/ accept a role in t#at *ociet/, and a* *1c# i* mi*1nder*tood and re5ected 0/
t#e 1niformed common men #e meet*2
6ne *1c# 1niform appear* in t#e final *cene of t#e film2 7 -oman -aling along
t#e *#ore -ear* a 0at#ing *1it t#at -o1ld 0e con*idered ordinar/ e,cept for it* repeated
appearance in t#e pict1re a0o3e Barton+* de*2 4#en t#e -oman imitate* t#e painting in
Barton+* room 51*t 0efore t#e end of t#e film, #er plain 0at#ing *1it 0ecome* co*t1me8
lie, a clo*e repre*entation of *omet#ing *een 0efore2 7t t#e *tart of t#i* *cene, a *#ot of
-a3e* cra*#ing again*t a lone 0o1lder in t#e ocean t#at appeared near t#e *tart of t#e film
i* repeated, follo-ed 0/ Barton *trolling do-n t#e roc/ coa*t2 .1ge roc* co3er t#e
McBride 2
0eac# not far inland, /et t#i* 0o1lder *tand* *eparate, immer*ing it*elf in an en3ironment
in -#ic# it doe* not 0elong and interr1pting t#e 0reaing -a3e* a* it doe* *o2 In a -a/,
t#i* parallel* Barton+* 1n*1cce**f1l attempt to 5oin t#e -oring cla** and 0ecome t#e
common man2 7* Barton -al* to-ard t#e left of t#e *creen, a *econd *#ot *#o-* t#e
-oman -aling to t#e rig#t, follo-ed 0/ t-o *eag1ll*2 4#ile t#e 0ird* follo- #er at fir*t,
t#e/ *oon 0rea a-a/ and mo3e to-ard* t#e rig#t of t#e *creen, 51*t a* Barton #ad in t#e
pre3io1* *#ot2 &1*t 0efore t#e end of t#e film, one of t#e g1ll* di3e* 1nder t#e -ater, onl/
to emerge and *it a0o3e t#e -a3e*2 4#ile e3er/t#ing a0o1t t#e 0ird tie* it to a life in t#e
air, lie Barton it trie* to 5oin anot#er -orld, if onl/ for a moment, and i* ne3er totall/
*1cce**f1l2 Barton finall/ *it* do-n, -it# e3er/ *#ot of #im for t#e remainder of t#e film
po*itioning #im -it# t#e roc* along t#e *#ore, de*pite #i* longing to 5oin t#e *ea2 7* t#e
-oman, -it# t#e *ea in t#e 0acgro1nd, pa**e*, *#e mae* a comment Barton cannot
#ear, *#o-ing #i* tro10le #earing t#e 3oice of t#e common man2 4#ile t#e t-o con3er*e,
it i* 1nclear -#ic# cla** t#e -oman 0elong* to, 1ntil Barton a** if *#e -or* in t#e film
ind1*tr/2 S#e tell* #im not to 0e *ill/, confirming #er role a* anot#er common man, and
51*t after *#e doe* *o *#e t1rn* a-a/ from Barton to-ard* t#e *ea, re5ecting #im and #i*
attempt to connect -it# #er cla**2 S#e finall/ a**1me* t#e po*e from t#e painting t#at
Barton *tared *o fondl/ at, *1gge*ting t#at #e find* 0ea1t/ in tr1e repre*entation* of t#e
common man, -#ic# neit#er #e nor an/ ot#er 9.oll/-ood t/pe*: can #ope to imitate2
"o ot#er 1niformed common men, Detecti3e* Ma*trionotti and De1t*c#, appear
late in t#e film, /et t#eir *trong di*dain for Barton gi3e t#em an important role in *#o-ing
#i* ina0ilit/ to em1late t#e -oring cla**2 7* Barton approac#e* t#e pair for t#e fir*t
McBride 3
time, lig#t flooding t#ro1g# a #ig# -indo- create* a *potlig#t t#at #e -al* t#ro1g# and
later *it* 1nder for t#e re*t of t#e *cene2 'on3er*el/, t#e t-o detecti3e* are fir*t *een a*
*il#o1ette*, entirel/ eng1lfed 0/ *#ado-*2 "#e lamp ne,t to Barton i* al*o de*igned a* a
*er3ant #olding 1p an 1m0rella t#at co3er* Barton in t#e *#ot, maing #im a pict1re of
t#e 1pper cla**2 "#ere i* an o3er-#elming *en*e of di*connection 0et-een Barton and t#e
detecti3e*, -it# t#e t-o ne3er 0eing *een in t#e *ame *#ot2 4#en Ma*trionotti goe* to
reclaim #i* pict1re of 'arl M1nt, #e ;1icl/ *natc#e* it from Barton+* #and, not -anting
to create an/ *ort of p#/*ical 0ridge 0et-een t#e t-o2 Similarl/, -#en #e goe* to #and
Barton #i* card, 51*t a* Barton i* a0o1t to tae #old of it, creating a connection 0et-een
#im*elf and t#e detecti3e, Ma*trionotti drop* t#e card on t#e gro1nd2 4#en Barton again
meet* t#e detecti3e* later in t#e film, Ma*trionotti *it* in Barton+* c#air2 .i* rela,ed
po*t1re, complete -it# feet 1p on t#e de*, *tand* in contra*t to Barton+* 1*1al 1prig#t,
rigid po*e2 7fter Barton cro**e* t#e camera to *it on t#e 0ed, repeated *#ot* again
*eparate #im and t#e t-o detecti3e*, -#o are no- po*itioned along*ide a t#ird common
man, t#e girl in t#e p#oto2 4#ile all t#ree c#aracter* *it on t#e *ame le3el, t#e detecti3e*
are *een t#ro1g# a lo- angle *#ot and Barton t#ro1g# a #ig# angle *#ot, maing t#e
detecti3e* impo*ing and Barton mee2 "#e*e angle*, com0ined -it# De1t*c#+*
#andc1ffing Barton to t#e 0ed, *#o-* t#e common man+* control o3er Barton, 0ot#
p#/*icall/ and mentall/2 Barton+* o0*e**ion lea3e* #im *#acled to t#e common man,
1na0le to e*cape #im2
4#en Barton finall/ complete* #i* ma*terpiece, #e cele0rate* at a $S6 0all in
anot#er attempt to immer*e #im*elf in t#e -orld of t#e common man2 S1rro1nded 0/
McBride <
1niformed *er3icemen, Barton *tic* o1t d1e to #i* darer *1it, 1na0le to 0lend -it# t#e
gro1p #e *ee* to 5oin2 E3en Barton+* dancing *eem* -ild and different from t#e *oldier*,
di*connecting #im from t#em f1rt#er2 7t one point t#e *#ot place* a dancing Barton
1nderneat# a circ1lar $S6 0anner, framing #i* #ead lie a #at2 For a 0rief moment
Barton+* 9#at: 0ring* #im clo*er to 0eing one of t#e capped *ailor*, /et it i* *till too 0ig
and loo* a--ard 1pon #i* #ead, *1gge*ting t#at Barton 51*t doe* not fit -it# t#e gro1p2
4#en anot#er man a** to c1t in on Barton+* dance, calling #im 901dd/,: Barton replie*
0/ calling #im 9*ailor,: accent1ating t#e 1nfamiliarit/ 0et-een t#e t-o men de*pite
Barton+* claim* of re*pecting and 1nder*tanding t#e common man2 Barton+* re5ection of
t#e common man+* re;1e*t i* met -it# a *le- of in*1lt* from t#e ot#er *er3icemen2
D1ring t#i* *e;1ence, *#ot* of t#e *ailor* are canted -#erea* *#ot* of Barton are le3el,
creating t-o *eparate -orld* eac# *eem* to in#a0it2 "#e r#/t#mic relation of t#e m1*ic to
t#e c1t* d1ring t#e*e fe- *#ot* al*o create* a 01ild81p of moment1m, c1lminating in
Barton+* 3er0al a**a1lt of t#e re*t of t#e dancer*, #i* 0elo3ed common men2 7* Barton
tear* t#ro1g# t#e cro-d ranting, t#e melod/ c1t* o1t, lea3ing t#e lo-, #ea3/ t#1d* of t#e
dr1m* to complement Barton+* in*1lt *pree2 7* #i* tirade reac#e* it* clima,, -it# Barton
em0racing #i* role a* a creator and re5ecting t#e common man for one of t#e fe- time* in
t#e film, *e3eral cra*# c/m0al* *1gge*t* t#at -#at -a* pre3io1*l/ ten*ion 0et-een Barton
and t#e common man #a* 0ecome complete re5ection and *eparation, at -#ic# point one
*ailor p1nc#e* Barton in t#e face2 7* Barton cra-l* acro** t#e floor, a P6= *#ot
repeatedl/ c#ange* from canted to le3el a* t#e common man enter* and e,it* #i* 3ie-2
"#e t-o -orld* Barton *ee* to in#a0it are colliding, 1ntil e3ent1all/ t#e camera rai*e* to
McBride >
*#o- t#e performer* on t#e *tage2 "#e*e men are arti*t*, lie Barton, and are po*itioned
a0o3e t#e common man+* cro-d2 "#eir gold o1tfit* and poli*#ed 0ra** in*tr1ment* *tand
in contra*t to t#e 0land -#ite* and tan* of t#e cro-d, and a* t#e camera rai*e* to 5oin
t#em, it le3el*, connecting Barton+* -orld to t#at of t#e arti*t* and p1lling #im f1rt#er
from t#at of t#e common man2
6ne of t#e mo*t o03io1* portra/al* of t#e -oring cla** common man i* '#et, t#e
1niformed 0ell0o/ -#o *eem* to *ingle#andedl/ r1n t#e #otel Earl2 4#en Barton fir*t
arri3e* and ring* t#e 0ell, it tae* '#et *ome time to get to #im, e*ta0li*#ing t#e great
di*tance 0et-een Barton and t#e common man from t#e 0eginning2 '#et emerge* from
t#e 0a*ement t#ro1g# a trapdoor, placing #im 1nderneat# Barton, 0ot# p#/*icall/ and in
cla**2 7t *e3eral in*tance* d1ring t#eir 0rief tal, '#et and Barton #a3e tro10le
comm1nicating -it# one anot#er, de*pite Barton+* claim* to 1nder*tand t#e common
man2 7fter Barton gi3e* #i* name, '#et retrie3e* #i* re*er3ation /et *till confirm* one
la*t time t#at t#e man 0efore #im i* Barton Fin, #inting at t#e *en*e of 1nfamiliarit/ and
detac#ment t#at per3ade* t#e *cene and Barton+* interaction* -it# t#e common man in
general2 7fter confirming t#e re*er3ation, '#et a** Barton to *ign in and *pin* t#e
g1e*t0oo 1p*ide do-n *o t#at Barton can read it2 It+* a* if t#e/ are of t-o different
-orld*, and -#at one *ee* appear* 1p*ide do-n to t#e ot#er, -it# neit#er 0eing a0le to
compre#end -#at t#e ot#er can2 "#e repeated comm1nication tro10le onl/ f1rt#er
di*connect* t#e t-o, -it# Barton 0eing 1nfamiliar -it# t#e term* 9"ran*: or 9?e*2: 7* if
*en*ing t#i* di*connect, '#et attempt* to compen*ate 0/ 0eing 3er/ clear t#ro1g# t#e
remainder of t#e con3er*ation, repeating #i* name t#ree time* in order to mae *1re t#at
McBride 6
Barton 1nder*tand* -#at #e i* *a/ing2 4#ile it i* clear t#at t#e*e t-o are of different
-orld*, '#et+* mi*pron1nciation of 9@o* 7ngele*: a* Barton #ead* to-ard* t#e ele3ator
*olidifie* #i* po*ition in t#e *ociet/ of t#e common man, meaning Barton m1*t in#a0it
t#e -orld of t#e arti*t2 '#et appear* again m1c# later in t#e film, 51*t after Barton
di*co3er* t#e 0od/ of 71dre/ in #i* 0edroom2 $n*1re of -#at to do, Barton peer* o1t into
t#e #all-a/, onl/ to *ee '#et collecting *#oe* at t#e far end2 &1*t a* #e -a* in #i* fir*t
*cene, '#et 0egin* t#e interaction 3er/ far from BartonA t#e e,treme long *#ot t#at
portra/* #im mae* '#et *eem 0ot# emotionall/ di*tant a* -ell a* *mall and 1nimportant2
Barton ;1icl/ #ide* #im*elf 0efore '#et can loo 1p, no-ing '#et cannot offer #im
an/ comfort or #elp de*pite Barton+* *elf8proclaimed connection to and 1nder*tanding of
t#e common man2 .earing #i* door clo*e, '#et loo* for Barton, *tr1ggling to *ee #im in
t#e long dar #all-a/ 51*t a* #e #ad *tr1ggled to comm1nicate -it# #im at t#e front de*2
@ie ot#er common men t#ro1g#o1t t#e film, #o-e3er, rat#er t#an *ee a connection
-it# Barton, '#et t1rn* #i* 0ac on #im and mo3e* f1rt#er a-a/2 4#ile t#e air i* *till and
*ilent 0ot# in*ide and o1t*ide of Barton+* room, t#e *o1nd of t#e air r1*#ing t#ro1g# t#e
door a* Barton clo*e* it create* t#e *en*e t#at de*pite appearing *o *imilar, t#e t-o area*
are *ome#o- different2 4#ile Barton+* *ilent room *eem* 3er/ *imilar to '#et+* *ilent
#all-a/, Barton+* i* airtig#t and i*olated from t#e o1t*ide area2 It+* a* if Barton #a*
created #i* o-n 3er*ion of t#e common man+* -orld in*ide #i* room, /et cannot find a
-a/ to 1nite it -it# t#e re*t of t#e -orld, lea3ing Barton clo*e to 01t *till di*connected
from t#e common man+* *ociet/2
McBride 7
&ac @ipnic i* a c#aracter 3er/ *imilar to Barton in #i* a0ilit/ to cro** 0et-een
.oll/-ood *ociet/ and t#at of t#e common man2 @ipnic initiall/ *ee* to con3ert Barton
to t#e life in #ig# *ociet/, prai*ing #i* e3er/ action and con*tantl/ fa3oring #i* opinion
o3er t#at of @o1, t#e common man -#o #a* -ored along*ide #im for /ear*2 .o-e3er, in
@ipnic+* final *cene, #e 1ndergoe* a dra*tic c#ange in c#aracter after #i* 7rm/ ?e*er3e
1nit i* called to action2 @ipnic, no- 'olonel @ipnic, appear* dre**ed in 1niform, -it#
#i* 0ac initiall/ t1rned to Barton, re5ecting #im lie *o man/ ot#er common men 0efore
#im2 4#ile @ipnic admit* t#e 1niform i* onl/ a co*t1me, #i* acceptance of #i* ?e*er3e
contract i* -#at *olidifie* #i* role in t#e *ociet/ of t#e common man2 7* m1c# a* Barton
claim* an 1nder*tanding and re*pect for t#e common man, #e ne3er tae* an acti3e role
in t#at *ociet/, -#ic# i* -#/ @ipnic i* a0le to immediatel/ mae t#e tran*ition t#at
Barton cannot2 4#en Barton enter* t#e room -earing #i* dar *1it, #e i* po*itioned
0et-een t-o *tat1e* of 7tla* carr/ing t#e -orld on #i* 0ac, m1c# lie t#e -oring cla**2
"#e role of t#e common man i* to eep t#e -orld r1nning, to #old *ociet/ toget#er, a role
Barton doe* not f1lfill a* a -riter2 7* *1c#, Barton i* *een in *tar contra*t to t#e t-o
*tat1e*, *tanding in line -it# t#em 01t *till di*connected2 De*pite t#e office 0eing
@ipnic+*, #e i* po*itioned in front of t#e onl/ -indo- to t#e o1t*ide, *1gge*ting t#at
@ipnic #a* a connection to t#at o1t*ide -orld, -#erea* Barton remain* *t1c in t#e
.oll/-ood office2 7l*o, for t#e fir*t time in t#e film, @ipnic+* affection* *-itc# from
Barton to @o1, f1rt#er confirming @ipnic+* *-itc# to t#e common man+* *ociet/2 7*
@ipnic 0erate* Barton, #e *tand*, and t#e lo- angle *#ot 1*ed to portra/ t#e detecti3e*
ret1rn*2 @ipnic appear* large and menacing, *1gge*ting t#e common man+* di*dain for
McBride 8
Barton, /et al*o *#o-ing #i* control o3er Barton t#ro1g# t#e o0*e**ion -it# t#e -oring
cla** #e cannot *eem to e*cape2 @ipnic+* 3oice i* m1c# lo1der t#an Barton+* a* -ell, a*
if t#e 3oice of t#e common man i* m1c# *tronger and more re*ol1te t#an Barton+*,
*1gge*ting Barton #a* no rig#t attempting to *pea for #im2 $pon fini*#ing -it# Barton,
@ipnic tell* #im to lea3e, a* t#ere i* a -ar going onA in one line @ipnic compare* t#e
tr1e pain and *1ffering of t#e common man to t#at of Barton+* -riting, -#ic# can ne3er
acc1ratel/ e,pre** t#e plig#t of t#e -oring cla**2 7* Barton t1rn* to go, @ipnic t1rn*
#i* 0ac once again, *ignif/ing t#e final detac#ment of Barton from #i* #ope* to em0race
t#e common man2
4#ile Barton fear* t#at accepting #i* contract and -riting in .oll/-ood -ill
di*connect #im from t#e common man, in realit/ #e ne3er #ad *1c# a connection to 0egin
-it#2 .i* 3ario1* interaction* -it# t#e*e c#aracter* *#o- #i* 1nea*ine** and ina0ilit/ to
relate to t#e common man #e pre3io1*l/ felt *o connected to2 De*pite #i* o03io1*
difference* from t#e common man, Barton+* o0*e**ion lea3e* #im con*tantl/ tied to t#at
*ociet/ /et ne3er accepted -it#in it2 It+* -it# @ipnic+* re5ection of #i* final -or, -#ic#
#e 0elie3e* to 0e #i* fine*t and an #one*t depiction of t#e plig#t of t#e common man, t#at
Barton i* finall/ a0le to e*cape #i* o0*e**ion -it# t#e common man and come to term*
-it# #i* ina0ilit/ to 5oin t#at *ociet/2