A Serious Man 2009 123movies

Watch: A Serious Man 2009 123movies, Full Movie Online – Bloomington, Minnesota, 1967: Jewish physics lecturer Larry Gopnik is a serious and a very put-upon man. His daughter is stealing from him to save up for a nose job, his pot-head son, who gets stoned at his own bar-mitzvah, only wants him round to fix the TV aerial and his useless brother Arthur is an unwelcome house guest. But both Arthur and Larry get turfed out into a motel when Larry’s wife Judy, who wants a divorce, moves her lover, Sy, into the house and even after Sy’s death in a car crash they are still there. With lawyers’ bills mounting for his divorce, Arthur’s criminal court appearances and a land feud with a neighbour Larry is tempted to take the bribe offered by a student to give him an illegal exam pass mark. And the rabbis he visits for advice only dole out platitudes. Still God moves in mysterious – and not always pleasant – ways, as Larry and his family will find out..
Plot: It is 1967, and Larry Gopnik, a physics professor at a quiet Midwestern university, has just been informed by his wife Judith that she is leaving him. She has fallen in love with one of his more pompous acquaintances Sy Ableman.
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Ratings:

	7.0/10 Votes: 143,444
	89% | RottenTomatoes
	85/100 | MetaCritic
	N/A Votes: 1737 Popularity: 12.594 | TMDB

Reviews:

Magnificent. The Coen Brothers take a detour.
Let me say up front that most fans of the Coen brothers’ early films might be disappointed if they’re expecting “Fargo”, “The Big Lebowski” or even “O Brother”. Unlike those movies, here we don’t have a lot of plot, comedy or action. The message of the film is very challenging, and it requires a lot of thought to figure out what they’re saying.

I’d say this movie is for fans of the recent American films “Synecdoche NY”, “Doubt”, and the recent Japanese films “Departures”, “Yureru” and of course the classics by Kurosawa like “Rashomon”. What I’m saying is that this is a film that tackles philosophical questions of perception, faith, and in particular, uncertainty.

If you’ve had some physics, you’re in for a real treat because much of the theme centers around Schrödinger’s “Uncertainty Principle”, briefly touched upon in the Coens’ excellent 2001 film “The Man Who Wasn’t There”. Here they give us a more powerful dose. If you’ve never heard of this principle, don’t worry, you can look it up on Wikipedia or you can accept my synopsis of it, which I’ll warn you might be flawed because I ain’t no physicist:

The Uncertainty Principle (or “Schrödinger’s Cat”) proves mathematically that certain events are unknowable. It proposes the idea of a cat that might be alive or dead, but we cannot know without looking inside the cage. At the same time, the minute we look inside the cage, the cat will be killed by a toxic gas. The bottom line: we can’t know the answer. Ever.

From there, the movie explores how different people react when confronted with the unknown. Some form prejudices. Some fall back on faith. Some become faithLESS. And some just don’t care.

This is a beautifully crafted film that shows us the nature of human beings in that respect. No, there’s not really a story. But it does even better than that: it challenges our minds to see elements of our own lives within the life of this ordinary schmuck. I am truly amazed at the Coens’ accomplishment, and I hope they continue in this direction in the future, though I’m sure it may hurt their mainstream appeal.

If you see this film & like it, I think you’ll really enjoy the other films I’ve listed as well as the Hungarian masterpiece “Werckmeister Harmonies”, anything by Wim Wenders (“The End of Violence” touches on the same Uncertainty Principle) and Orson Welles’ “The Trial”.

I’m studying Torah, asshole.
The aspect ratio is almost square, and the frame’s edges are vignetted and fading into brown, rendering the tale like an old wrinkled story on paper, but nothing more. The wife plunges an icepick into Groshkover’s chest, and as he bleeds, he proves her superstitions wrong. He is not in fact a dybbuk, and here is concrete proof right in front of her, but she is unswayed. Tradition trumps logic, and later, as Larry is dwarfed by the enormous mathematical proofs of his blackboard, he wrestles with both sides, and even a man of his knowledge is perplexed by the universe and how it works. He tries his hardest to be a serious man, thinking that it will reward him, but is much more a Kafkaesque figure, buffeted continually by things out of his control, looking for meaning where there is not necessarily meaning to be found.

His own journey is mirrored by the chaos around him, and in particular by his son, whom does not seem to take Hebrew school seriously and is using his money for marijuana. The opening cross-cuts between the pair; extreme close-up of his ear listening to his walkman versus Larry at an inspection, one in nervous anticipation and one in careless abandon. As he is deep in concern and consultation, Danny punctures it with a phonecall, but it isn’t something deep or meaningful: F Troop is still fuzzy, the cable needs fixing. His dialogue is laced with unholy profanities that Larry would be embarrassed at, and during a sacred and pivotal moment of his life, his bar mitzvah, Deakins shoots the ceremony with compressed depth of field and dutch angles, because he is of course high, and not taking it very seriously.

Stuhlbarg is excellent. Here is a man that is by all means good. Here is someone who politely questions why it should be him to move out when his wife wants a divorce, and cannot even vehemently deny that a show he once saw was somewhat erotic. On the roof, he stares all around at the cookie-cutter suburbia and pristine lawns and wonders what exactly it all means (and if it is worth it – every time he steps into his home he is assaulted with a cacophony of problems), and spots a naked sun-lounger, something that he feels he should not be looking at. But then he convinces himself to visit on some guise of neighbourly assistance, and even then, with all the suggestions, he can only go so far in his dreams.

The world is affectionately 60s. There is a gun-nut neighbour, whom Larry worries about his anti-Semitism and his violent tendencies. A record club repeatedly tries to receive payment, and poor Larry cannot even bear to lie or trick them. Heart attack or car crash, those really happened. There is the aforementioned hussy neighbour, who slinkers through a beaded curtain and offers a glass of ice-tea (and I wager in Larry’s mind, it is even more seductive than this). And there is a tightly knit Jewish community. Everyone from dentists to lawyers are family friendly – even a police officer curiously blurts out “Who died?”. They treat the deceased Sy Ableman with reverence, but not too much of it (“Esther is barely cold!”). Melamed’s performance is also great; his voice purrs out insincere platitudes, his outstretched hand offers unwelcome invasions of personal space, he haunts Larry in his dreams, and beneath it all, writes vicious anonymous letters hoping to discredit him.

A Serious Man’s most impressive achievement is the picture it paints of a certain religious mindset. They appeal to the masses because they offer orientation and knowledge and answers to the why questions, and the followers begin to form a type of entitlement towards their Hashem; they must know the meaning of life. Why is my wife leaving me? Why is my brother being arrested? Who is sending letters defaming my career? What is going on? Larry relentlessly pursues meaning. The first rabbi is young, inexperienced, and offers little more than metaphors and platitudes. The second has resigned all authority, and instead tells a intriguing yet ultimately pointless story. The third, said to be the oldest and wisest of them all, merely offers Jefferson Airplane lyrics, a simple piece of advice, and returns a confiscated item of value. The title cards, and the dramatic music seem to indicate importance, but they unveil none.

Larry is earnestly trying his best to be a serious man, even as he is uncertain if it really works. Religious figures in fiction are rarely this nuanced, but I suspect a great deal of them in reality are much like Larry. And yes, they occasionally waver from complete moral goodness. Only in the Coen universe, this means tornadoes, destruction and cancer. Job was rewarded with a completely new wife and sons and daughters, and even new livestock. I suppose God is wondering how Larry will face this crisis, and quietly musing to himself, much like Rabbi Nachter: “First I should tell you, then I shouldn’t.”

Other Information:

Original Language en
Runtime 1 hr 46 min (106 min)
Budget 7000000
Revenue 31430334
Status Released
Rated R
Genre Drama
Director Ethan Coen, Joel Coen
Writer Joel Coen, Ethan Coen
Actors Michael Stuhlbarg, Richard Kind, Sari Lennick
Country United Kingdom, France, United States
Awards Nominated for 2 Oscars. 17 wins & 80 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix DTS, Dolby Digital, SDDS
Aspect Ratio 1.33 : 1 (opening scene), 1.85 : 1
Camera Arriflex 535B, Zeiss Master Prime Lenses
Laboratory DeLuxe, Hollywood (CA), USA (color), EFILM Digital Laboratories, Hollywood (CA), USA (dailies) (digital intermediate)
Film Length 2,886 m (Sweden), 2,891 m (Portugal, 35 mm)
Negative Format 35 mm (Kodak Vision2 200T 5217, Vision3 500T 5219)
Cinematographic Process Digital Intermediate (4K) (master format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm (spherical) (Kodak Vision 2383), D-Cinema