Inside Llewyn Davis: The Coen Brothers have made the best ever movie about the folk revival.

Inside Llewyn Davis Is the Best Film Ever Made About the Maligned, Misunderstood Folk Revival

Inside Llewyn Davis Is the Best Film Ever Made About the Maligned, Misunderstood Folk Revival

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Dec. 11 2013 4:30 AM

Folk Heroes

The Coen Brothers' Inside Llewyn Davis is the best film ever made about the folk revival—and one of the best ever made about music, period.

Oscar Isaac, Justin Timberlake and Adam Driver in Inside Llewyn Davis.
Oscar Isaac, Justin Timberlake and Adam Driver in Inside Llewyn Davis.

Photo courtesy Alison Rosa/CBS Films

In September of 1961 the New York Times’ folk music critic Robert Shelton saw an unknown 20-year-old perform at a club in Greenwich Village. The singer, wrote Shelton, “is vague about his antecedents and birthplace, but it matters less where he has been than where he is going, and that would seem to be straight up.” Six months later Shelton’s mystery man released his self-titled debut on Columbia Records, Bob Dylan, a collection of mostly covers that sold poorly. In spring of 1963 he returned with The Freewheelin’ Bob Dylan, a 13-track LP that opened with an original composition called “Blowin’ In the Wind.” Two years and a few other decent songs later, he scandalously plugged in an electric guitar at the Newport Folk Festival, ending his relationship with the community that had birthed him. Just last week that guitar sold at auction for nearly $1 million. It’s safe to say Bob Dylan won the divorce.

Jack Hamilton Jack Hamilton

Jack Hamilton is Slate’s pop critic. He is assistant professor of American studies and media studies at the University of Virginia. Follow him on Twitter.

The Coen Brothers’ wonderful new film Inside Llewyn Davis takes place (very) shortly before Shelton penned his famous review, and while Dylan’s impending arrival looms over the world of the movie, it’s not about him. Instead, it’s about everyone who wasn’t him, and, as such, Inside Llewyn Davis breathes renewed and important life into the early 1960s folk revival, one of the most misunderstood, frequently derided, and hugely significant post-war cultural movements. Aside from producing arguably the most influential American songwriter and most influential Canadian songwriter of the past 50 years—by 1962 a young Joni Mitchell was cutting her chattering teeth in folk clubs in Saskatoon—the folk revival was a formative influence on artists ranging from Nina Simone to Stevie Wonder to Robert Plant to Janis Joplin. Yet in the years since Dylan went electric it’s become fashionable to caricature folkies as luddites dirtying themselves in the dustbin of history, besweatered schoolmarms yelling “Judas” at our most cherished rock star. Folkies get skewered in comedies like A Mighty Wind, treated with aloof disdain in period dramas like Mad Men, made into straw figures of lefty naïveté in reactionary fables like Forrest Gump.

This is a shame, and more than a little unfair. As a phenomenon both quintessentially of its time and doggedly seeking to flee it, the folk revival has aged about as poorly as things can age (though not as poorly as Forrest Gump). But it was also one of the great romances of the 20th century, a messily admirable mix of music and politics that believed in itself with a fierceness that few things have since. Its bedrock text was Harry Smith’s Anthology of American Folk Music, a six-LP collection released in 1952 that came to captivate a generation disillusioned by the directions their country was heading: Cold War paranoia, the drum-beat of nuclear brinksmanship, the intransigent racial violence of the Jim Crow south. Folk music promised bygone purity to young people understandably wary of modernity, and the performance of folk music became a powerful force of activism itself. Fifty years on, Dylan and Joan Baez performing at the March on Washington remains the most iconic visual memory of the revival.


Inside Llewyn Davis largely ignores the political side of the folk revival, a wise move that allows its characters to be human beings rather than pop-history clichés. The movie’s title role, impeccably played by Oscar Isaac, is based on the late Greenwich Village folk legend Dave Van Ronk, although music historian Elijah Wald (who co-wrote Van Ronk’s memoir and has penned a beautiful companion essay to the Coens’ film) is quick to emphasize that Davis is more impressionistic gloss than carbon copy. One of the great shadow figures of American music, Van Ronk was a fabulous singer and guitarist who left an indelible mark on his specific time and place while never becoming a household name. Irascibly opinionated, avowedly anti-commercial and by all accounts superhumanly generous to fellow musicians, he was a true original, a strange thing to say about a man so singularly devoted to the recreation of music born worlds away from his native Brooklyn. “He was big, sky high, and I looked up to him,” wrote Dylan of Van Ronk, years later. “He came from the land of giants.”

There is something warm and fitting about the Coens, film’s greatest bards of the star-crossed outsider, finally giving Van Ronk and the folkies their day in the sun. Inside Llewyn Davis both celebrates and sends up the revival’s misbegotten best intentions in ways that are smart and humane. In one of its finest scenes Llewyn is cajoled into performing the 18th-century British ballad “Fare Thee Well” at an Upper West Side dinner party. It’s a beautiful song (at 300 years old, it better be) that’s soon interrupted by his well-meaning host’s impromptu harmonies. Llewyn flies into a rage, suddenly sensitive to his own exploitation, being made to sing for his supper. “But I thought singing was a joyous expression of the soul!” protests his wounded, would-be duet partner.