| Henry Chinaski |
Barfly is one of those films that defy expectations and never even attempt to please the audience. If you want a show go watch Wild
Orchid, but Barfly will offer you absolute alienation common to literature than cinema. It is this thwarting of expectations however
that makes you immerse in the film, in an attempt to understand why it is the way it is, what the catch is.The film opens to a fight
scene between the main character, Henry Chinaski (Mickey Rourke), and the bartender, Eddie played by Frank Stallone. (This
Barfly role is perhaps the most famous one in the career of Sly's brother).The bartender sends Henry into a knockout and leaves him
lying amid garbage bins. This appears just another variation on the standard beginning of a "Great American Dream" story.. with the
audience already foreseeing the main character's marvelous progress from zero to hero, a philosophical ending and maybe a
sentimental tear or two in the darkness of rolling credits, that much simple, that much old hat and therefore, peaceful. You will not
find anything of the kind in Barfly though, the last fade-out will make you feel like a baby deprived of its candy. That's what this
author felt after the first run, anyway.
Orchid, but Barfly will offer you absolute alienation common to literature than cinema. It is this thwarting of expectations however
that makes you immerse in the film, in an attempt to understand why it is the way it is, what the catch is.The film opens to a fight
scene between the main character, Henry Chinaski (Mickey Rourke), and the bartender, Eddie played by Frank Stallone. (This
Barfly role is perhaps the most famous one in the career of Sly's brother).The bartender sends Henry into a knockout and leaves him
lying amid garbage bins. This appears just another variation on the standard beginning of a "Great American Dream" story.. with the
audience already foreseeing the main character's marvelous progress from zero to hero, a philosophical ending and maybe a
sentimental tear or two in the darkness of rolling credits, that much simple, that much old hat and therefore, peaceful. You will not
find anything of the kind in Barfly though, the last fade-out will make you feel like a baby deprived of its candy. That's what this
author felt after the first run, anyway.
There is not much sense in retelling the plot, the film is for watching. Besides, there is no plot in its traditional sense, although we
constantly feel that the main character always has the freedom to choose what to do next. However, owing to different reasons, he
does not avail of these options. Why he doesn't is left for the audience to conclude. There is no explaining, no preaching, no role
model and no answering of questions. It may even appear at the beginning, but only at the beginning, that there can be no questions
either.
constantly feel that the main character always has the freedom to choose what to do next. However, owing to different reasons, he
does not avail of these options. Why he doesn't is left for the audience to conclude. There is no explaining, no preaching, no role
model and no answering of questions. It may even appear at the beginning, but only at the beginning, that there can be no questions
either.
The controversy of Barfly is best illustrated by its box office performance. The film bombed in the USA despite the production of
Francis Ford Coppola and the directorship of Barbet Schroeder. It is one of Rourke's best roles and the last comeback of Faye
Dunaway. It made a major hit at the Cannes festival though, and was later favorably received in Europe. The fate of Barfly mirrors
that of texts by Charles 'Buk' Bukowski, who wrote the script for the film. Bukowski is one of the most popular American authors
outside of the USA. When he was a meagerly-paid postal worker, his poems and short stories were enthusiastically read all over
Europe. Jean-Paul Sartre is said to have referred to him as the most talented US poet. It was not until he was in his 40s or 50s that
Buk could afford to quit his job and live from the royalties of his books, most of them coming from Europe.
Francis Ford Coppola and the directorship of Barbet Schroeder. It is one of Rourke's best roles and the last comeback of Faye
Dunaway. It made a major hit at the Cannes festival though, and was later favorably received in Europe. The fate of Barfly mirrors
that of texts by Charles 'Buk' Bukowski, who wrote the script for the film. Bukowski is one of the most popular American authors
outside of the USA. When he was a meagerly-paid postal worker, his poems and short stories were enthusiastically read all over
Europe. Jean-Paul Sartre is said to have referred to him as the most talented US poet. It was not until he was in his 40s or 50s that
Buk could afford to quit his job and live from the royalties of his books, most of them coming from Europe.
Bukowski died at 74, an unbelievably old age in the eyes of many, what with the unrestrained drunkenness that dogged the writer
nearly to the end of his days. It was only shortly before his demise that he rectified his drinking preferences and switched to French
wines. Buk wrote: "I have always admired the villain, the outlaw, the son of a bitch. They are full of surprises and
explosions. I also like vile women. I'm more interested in perverts than saints. I can relax with bums because I am a
bum." The point of saying all this is to make clear exactly whom Rourke had to play. The Rourke who has always shunned alcohol,
which killed his father and turned his stepfather into a monster. The Rourke who only drank 7-Up during the filming. The Rourke
who has all his life tried to escape what Buk was writing about.
nearly to the end of his days. It was only shortly before his demise that he rectified his drinking preferences and switched to French
wines. Buk wrote: "I have always admired the villain, the outlaw, the son of a bitch. They are full of surprises and
explosions. I also like vile women. I'm more interested in perverts than saints. I can relax with bums because I am a
bum." The point of saying all this is to make clear exactly whom Rourke had to play. The Rourke who has always shunned alcohol,
which killed his father and turned his stepfather into a monster. The Rourke who only drank 7-Up during the filming. The Rourke
who has all his life tried to escape what Buk was writing about.
Cheap motels, bar counters, hangovers, drunken whores and filth invariably surround Bukowski's characters who have long lost (or
never have had any) ideals, no definite love and friendship to put a finger on, and have turned their use of the bottle to escape reality
into a method of alienation.
never have had any) ideals, no definite love and friendship to put a finger on, and have turned their use of the bottle to escape reality
into a method of alienation.
| "Are we all but shadows on corridor walls?" |
This spontaneous utterance of Rourke's character is the best tagline for the film, and for all works of Bukowski. Heavy drinking and
the odd shag are a recipe to escape a constantly threatening day-to-day life. Barfly is essentially a desperate song to the messy,
hopeless lowlife of consumerist America, a parallel universe to the high life of LA which is the cradle of pompous US cinema.
Rourke's brilliant performance in Barfly amazed Bukowski. The author was always demanding of, and generally pessimistic about
any screen adaptations of his texts, especially after the failed Italian screening of his Tales of Ordinary Madness. Besides, as we
know, Henry Chinasky, the main character in most of Buk's short stories and novels, is the author himself.
the odd shag are a recipe to escape a constantly threatening day-to-day life. Barfly is essentially a desperate song to the messy,
hopeless lowlife of consumerist America, a parallel universe to the high life of LA which is the cradle of pompous US cinema.
Rourke's brilliant performance in Barfly amazed Bukowski. The author was always demanding of, and generally pessimistic about
any screen adaptations of his texts, especially after the failed Italian screening of his Tales of Ordinary Madness. Besides, as we
know, Henry Chinasky, the main character in most of Buk's short stories and novels, is the author himself.
We can now assert that Chinaski is one of Rourke's best roles. Firstly, the actor departed from his stereotypical image, a feat in its
own right, as taking up 'non-American' roles in the USA requires courage and love of profession. Secondly, Rourke put all his talent
in this role, he acted so brilliantly that Bukowski, who attended the filming, said he recognised his own younger self. Touching Buk's
feelings was not an easy task. You'll know this if you've read his books. Incidentally, with all his lifelong hatred of TV and cinema for
their lies, an inspired Bukowski even made a cameo appearance in Barfly. In the bar scene, when Henry meets Wanda, he plays a
rummy nursing his beer.
own right, as taking up 'non-American' roles in the USA requires courage and love of profession. Secondly, Rourke put all his talent
in this role, he acted so brilliantly that Bukowski, who attended the filming, said he recognised his own younger self. Touching Buk's
feelings was not an easy task. You'll know this if you've read his books. Incidentally, with all his lifelong hatred of TV and cinema for
their lies, an inspired Bukowski even made a cameo appearance in Barfly. In the bar scene, when Henry meets Wanda, he plays a
rummy nursing his beer.
Contrary to widespread belief, Buk wrote the Barfly script at Schroeder's request and did not adapt it from an original text. Years
later he wrote Hollywood, a memoir of sorts recounting the varieties of his fortune before, during and after the filming of Barfly.
Rourke is easily recognizable in the book, portrayed under the name of Jack Bledsoe. Bukowski sympathises with him, claiming that
nobody could have played the role better than Rourke. And yet he notes Rourke's exceptional reserve, all attempts by the writer to
make friends with the actor invariably failed. This is why Rourke is described rather skimpily and schematically, but his temper is
rendered precisely: a lonely, withdrawn man trying to understand the life that is rushing past him, and first of all to
understand himself.
later he wrote Hollywood, a memoir of sorts recounting the varieties of his fortune before, during and after the filming of Barfly.
Rourke is easily recognizable in the book, portrayed under the name of Jack Bledsoe. Bukowski sympathises with him, claiming that
nobody could have played the role better than Rourke. And yet he notes Rourke's exceptional reserve, all attempts by the writer to
make friends with the actor invariably failed. This is why Rourke is described rather skimpily and schematically, but his temper is
rendered precisely: a lonely, withdrawn man trying to understand the life that is rushing past him, and first of all to
understand himself.
Rourke tries to bring part of himself into each of his roles, but does he succeed?.. An interesting fact: in every film he wears glasses,
if only briefly. A pair of glasses is his accessory of choice. The eyeglasses he wears are sometimes absurd-looking, like in Barfly, or
with a ludicrous nose guard, like in Angel Heart, but mostly they are nontransparent, black, Rourke-style eyegear. A 'trademark'
invented long ago, the actor often insists on including glasses in the script as a condition of his starring in the given film (this was the
case with Barfly).
if only briefly. A pair of glasses is his accessory of choice. The eyeglasses he wears are sometimes absurd-looking, like in Barfly, or
with a ludicrous nose guard, like in Angel Heart, but mostly they are nontransparent, black, Rourke-style eyegear. A 'trademark'
invented long ago, the actor often insists on including glasses in the script as a condition of his starring in the given film (this was the
case with Barfly).
Bukowski noted certain discrepancies between Rourke's personality and the world. When writing in Hollywood about scandals
involving Rourke, he suggested the following explanation of the actor's behaviour: "When you impersonate people, day after
day, year after year, it starts to tell on you. You find it increasingly hard to be yourself. This may even be fun at first,
but after you have impersonated dozens of people you start to forget who you really are, forget how to express yourself
with your own words."
involving Rourke, he suggested the following explanation of the actor's behaviour: "When you impersonate people, day after
day, year after year, it starts to tell on you. You find it increasingly hard to be yourself. This may even be fun at first,
but after you have impersonated dozens of people you start to forget who you really are, forget how to express yourself
with your own words."
It is interesting that the initial candidate for the Chinaski role was Sean Penn, at that time one of Rourke's worst enemies, (the two
actors were bad mouthing each other in the press.) This, however, did not stop them from becoming good friends later on. Penn
lobbied for Rourke to be cast in The Thin Red Line (although his role was later edited out). Also, Rourke made one of his best
cameo appearances in The Pledge, the film directed by Penn.
actors were bad mouthing each other in the press.) This, however, did not stop them from becoming good friends later on. Penn
lobbied for Rourke to be cast in The Thin Red Line (although his role was later edited out). Also, Rourke made one of his best
cameo appearances in The Pledge, the film directed by Penn.
| Sean Penn On Mickey Rourke |
"I'd always admired Mickey's talent. It always struck me, in any generation... there's really only one or two guys that
you get excited about, and Mickey certainly had always been one of them. And nobody has documented his ability to
punch himself in the head better than he has. He had burned a lot of bridges for a long time. We had been friends on
and off because, certainly, our bridges had been burned also. But I was always a fan of his. And I just felt we needed
him. He and I ran into each other. He seemed in a better way than he'd been in a long time. I asked him if he'd [make a
cameo in Penn's movie The Pledge], and he said yes. He came up, I shot two takes with him, said 'See you in L.A.'..."
you get excited about, and Mickey certainly had always been one of them. And nobody has documented his ability to
punch himself in the head better than he has. He had burned a lot of bridges for a long time. We had been friends on
and off because, certainly, our bridges had been burned also. But I was always a fan of his. And I just felt we needed
him. He and I ran into each other. He seemed in a better way than he'd been in a long time. I asked him if he'd [make a
cameo in Penn's movie The Pledge], and he said yes. He came up, I shot two takes with him, said 'See you in L.A.'..."
The closing scene in Barfly repeats the opening one, a drunken fight between Harry and the bartender. To Harry, fighting is the way
of proving your worth, the Fight Club Credo 'How much can you know about yourself if you've never been in a fight? In Barfly,
fighting is the main character's pastime, the fight with every new day and for every new day. The aim of fighting is to feel that you
are still alive, and the aim of drinking is to forget everything that makes you want to die.
of proving your worth, the Fight Club Credo 'How much can you know about yourself if you've never been in a fight? In Barfly,
fighting is the main character's pastime, the fight with every new day and for every new day. The aim of fighting is to feel that you
are still alive, and the aim of drinking is to forget everything that makes you want to die.
| This character synopsis was written by Alexey Volokhov feedback is greatly appreciated. |
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