Joshua Smith5 said:I saw Dylan's 'divine' appearance at the end as the solution to all of Llewyn's problems. I mean, while he's a decent performer, Llewyn—just like his (not so) friends—doesn't really stand out in a sea of similar faces. Dylan, with his unique vocal style and songwriting, just elevates the whole folk scene for the average listener. He’s on a pedestal, sure, but he brings Joan Baez, Phil Ochs, and Judy Collins up there with him. So, if I'm reading this right, Llewyn Davis might actually make it. I mean, isn't his character based on Dave Van Ronk anyway?
+++IF YOU HAVEN'T SEEN THE MOVIE, DON'T READ THIS BECAUSE IT CONTAINS SPOILERS+++
Yeah, he's based on Van Ronk. After all, he has an album called Inside Van Ronk, and the cover looks suspiciously like Davis's album cover. But honestly, I don't think you should look too hard for deeper connections since it's not exactly a semi-autobiographical movie. I was checking his career on Wikipedia, and it turns out the guy Davis played with—the one who died and had an album with him—is totally fictional. Also, the timeline confuses me; Inside Van Ronk came out in 1964, but the movie is set in 1961 and Davis already has an album out. It's weird.🤷
As for Dylan showing up, I took that as the final nail in the coffin for Davis's career. To me, it felt like just another slap in the face that would only push him closer to quitting. You've got this new kid appearing and absolutely killing it, performing exactly the song "Farewell." Then, at the very end, when the guy who beat him gets into a taxi, Davis waves and says "au revoir," which also means goodbye. I guess I could be totally wrong about that, though.
Oh, one more thing—what do you guys think the role of the Gorfein couple is here? For a second, I thought maybe they were the parents of the colleague who died, but I'm probably overthinking it.🤷