Inside Llewyn Davis

In February 1961, Llewyn Davis is a struggling folk singer in New York City's Greenwich Village. His recent solo album Inside Llewyn Davis is not selling; he has no money and is sleeping on the couches of friends and acquaintances. After playing The Gaslight Café one night he is beaten up in the alley behind the café, for reasons not immediately apparent, by a shadowy man in hat and suit with a southern accent.

Davis awakens in the apartment of two friends, the Gorfeins. As he leaves, their cat escapes and is locked out of the apartment. Davis takes him to the apartment of Jim and Jean Berkey, where Jean reluctantly agrees to allow Davis to stay the night, despite already having promised as much to another aspiring folk singer/songwriter, Troy Nelson, a young military man stationed at nearby Fort Dix. Jean informs Davis that she is pregnant, and that Davis could be the father. The next morning, Davis opens a window and the Gorfeins' cat escapes the Berkeys' apartment. Later, Jean asks Davis to pay for an abortion, though she is upset it may be Jim's child she is losing.

Davis visits his sister, hoping to borrow money. Instead, she gives him a box of his belongings, which he tells her to leave outside by the curb. She mentions that he could make money by returning to the Merchant Marine. On Jim's invitation, Davis records a space travel-themed novelty song with Jim and Al Cody. Needing money for the abortion, Davis agrees to an immediate $200 rather than royalties. Davis looks to set up the appointment for the abortion, only to learn that payment will not be necessary, as he has credit with the gynecologist's office due to already having paid for the same procedure two years earlier on behalf of another woman who did not go through with it or inform Davis of her decision to raise the child in her hometown of Akron, Ohio.

While talking to Jean at a café, Davis sees what he believes to be the Gorfeins' cat, captures him, and returns him to them that evening. Asked to perform a song after dinner, he reluctantly plays "Fare Thee Well", a song he had recorded with his old partner, Mike. When Mrs. Gorfein starts to sing Mike's harmony, Davis becomes angry and tells her not to. She leaves the table crying, then returns with the cat, having realized it is the wrong sex and thus not theirs. Davis leaves, taking the cat along.

Davis rides with two musicians driving to Chicago: the laconic beat poet Johnny Five and the jazz musician Roland Turner. During the trip Davis discloses that his musical partner, Mike Timlin, died by suicide.

At a roadside restaurant, Roland collapses from a heroin overdose. The three stop on the side of the highway to rest. When a police officer tells them to move on, he suspects that Johnny is drunk and tells him to get out of the car. Johnny resists and is arrested. Without the keys, Davis abandons the car, leaving the cat and the unconscious Roland behind. In Chicago, Davis auditions for Bud Grossman, who says Davis is not suited to be a solo performer but suggests he might fit into a new trio Grossman is forming. Davis rejects the offer and hitchhikes back to New York. Driving while the car owner sleeps, and distracted by the nighttime lights of nearby Akron, he hits a cat; it slowly limps into the woods as Davis watches.

Back in New York, Davis uses his last $148 for back dues to rejoin the Merchant Marine union, and visits his ailing father. He searches for his seaman's license so he can ship out, but it had been in the box he told his sister to trash. Davis returns to the Union Hall to replace it, but cannot afford the $85 fee. He visits Jean and she tells him she got him a gig at the Gaslight.

At the Gaslight, Davis learns that Pappi, the manager, also had sex with Jean. Davis drunkenly heckles a woman as she performs on stage and is thrown out. He goes to the Gorfeins' apartment, where they graciously welcome him. There, he learns that the novelty song is likely to be a major hit with massive royalties. He is amazed to see that their actual cat, Ulysses, has found his way home.

In an expanded version of the film's opening scene, Davis performs at the Gaslight. Pappi teases Davis for his heckling the previous evening's singer and tells him that a friend of his is waiting in the alley. As he leaves, Davis watches a young Bob Dylan perform. Behind the Gaslight, Davis is beaten by the shadowy suited man for having cruelly heckled his wife, the previous night's performer. Davis watches as the man leaves in a taxi, bidding him "Au revoir".

Well before writing the script, the Coens began with a single idea, of Van Ronk being beaten up outside of Gerde's Folk City in the Village. The filmmakers employed the image in the opening scenes, then periodically returned to the project over the next couple of years to expand the story using a fictional character.[8] One source for the film was Van Ronk's posthumously published memoir, The Mayor of MacDougal Street (2005).

According to the book's co-author, Elijah Wald, the Coens mined the work "for local color and a few scenes".[9][10][11] The character is a composite of Van Ronk, Elliott, and other musicians from New York City who performed in the Village at that time.[8] Joel Coen said, "the film doesn't really have a plot. That concerned us at one point; that's why we threw the cat in."[12]

Shooting was complicated by an early New York spring, which interfered with the bleak winter atmosphere that prevails throughout the film,[13] and by the difficulty of filming several cats, who, unlike dogs, ignore filmmakers' directions. On an animal trainer's advice, the Coens put out a casting call for an orange tabby cat, since they are sufficiently common that several could play one part. Individual cats were then selected for each scene based on what they were disposed to do on their own.[8] After a chance run-in with a cabdriver who lived at their old address, the Coens used the apartment they'd rented several decades earlier.[14]

Producer Scott Rudin, who worked with the Coens on No Country for Old Men and True Grit, collaborated on the project. StudioCanal helped finance it without an American distributor in place. "After shooting in New York City and elsewhere last year ... the brothers finished the movie at their own pace", wrote Michael Cieply in a January 2013 New York Times interview with Joel Coen ahead of a private, pre-Grammys screening in Los Angeles. "They could have rushed it into the Oscar season but didn't."[10] On February 19, CBS Films announced it had picked up the U.S. domestic distribution rights for about $4 million. StudioCanal has rights to international distribution and foreign sales.[15][16]

Music

See also: Inside Llewyn Davis (soundtrack)

Isaac and other cast members performed the music live, and did not use lip-synching.

Dave Van Ronk's music served as the Coens' starting point for the script, and many of the songs first designated for the film were his. Van Ronk biographer Elijah Wald said that Llewyn Davis "is not at all Dave, but the music is".[17] (The cover of Davis's solo album, Inside Llewyn Davis, resembles that of Inside Dave Van Ronk. Both feature the artist in a doorway, wearing a tweed jacket and smoking a cigarette.[18] One difference between the two covers is that there is a cat in the doorway on the cover of Inside Dave Van Ronk.) Other songs emerged in conversations between the Coens and T Bone Burnett, who produced the music in association with Marcus Mumford.[10][13][19] Burnett previously worked with the Coens on the music and soundtracks for The Big Lebowski and O Brother, Where Art Thou?, the latter of which sold about 8 million copies in the United States.[20] The Coens viewed the music in Inside Llewyn Davis as a direct descendant of the music in O Brother.[8]

The humorous novelty song "Please Mr. Kennedy", a plea from a reluctant astronaut, appears to be a fourth-generation derivative of the 1960 song "Mr. Custer", also known as "Please Mr. Custer", about the Battle of the Little Bighorn, sung by Larry Verne and written by Al De Lory, Fred Darian, and Joseph Van Winkle. A Tamla-Motown single followed in 1961: "Please Mr. Kennedy (I Don't Want to Go)", a plea from a reluctant Vietnam War draftee, sung by Mickey Woods and credited to Berry Gordy, Loucye Wakefield and Ronald Wakefield. In 1962, using a similar theme, The Goldcoast Singers recorded "Please Mr. Kennedy" on their album Here They Are, with writing credits to Ed Rush and George Cromarty. The Llewyn Davis version credits Rush, Cromarty, Burnett, Timberlake, and the Coens.[8][21][22]

Isaac, Timberlake, Mulligan, Driver and others performed the music live.[23][24] The exception was "The Auld Triangle", which was lip-synced, with Timberlake singing bass. (Timberlake's vocal range was on display in the film. Critic Janet Maslin, listening to the soundtrack, mistook Timberlake's voice for Mulligan's, which she thought resembled that of Mary Travers.)[8]

Inside Llewyn Davis had its worldwide premiere on May 19 at the 2013 Cannes Film Festival.[25][26] It then screened at other film festivals, including the New York Film Festival in September, the AFI Film Festival, on its November 14 close, and the Torino Film Festival, also in November.[27][28]

The film began a limited release in the United States on December 6, 2013, in Los Angeles and New York. It opened in 133 additional theaters on December 20 and wide on January 10, 2014.[29][30]

On January 19, 2016, The Criterion Collection released a DVD and Blu-ray of the film, featuring new audio commentary tracks, interviews and other special features, including a 43-minute documentary, Inside "Inside Llewyn Davis".[31]

• Official website
• Inside Llewyn Davis at IMDb
• Inside Llewyn Davis at Rotten Tomatoes
• Inside Llewyn Davis at Metacritic
• Inside Llewyn Davis at Box Office Mojo
• Inside Llewyn Davis: The Sound of Music an essay by Kent Jones at the Criterion Collection