The Coen brothers have been serious filmmakers since they won the Grand Jury Prize at the Sundance Film Festival for their debut feature, Blood Simple, 25 years ago. They write, produce and direct most everything they do and because of that, are very recognizable film auteurs. But even among such films as Fargo, The Big Lebowski and No Country For Old Men, their latest, A Serious Man, stands out.

The film begins with a Yiddish parable that has both everything and nothing to do with the rest of the narrative. It is at least a good scene, and after 20 odd minutes of coke commercials, it prepares the audience for something. Then from the opening titles to freight train ending, there has never been a film quite like this.

It’s a creative retelling of the Book of Job set in Minnesota during the late ’60s. Michael Stuhlbarg stars as physics professor Larry Gopnik and leads a talented ensemble cast of relatively unknown actors. The film explores the effects of the cultural revolution on the subculture of Jewish- Americans, all under the anthem track

“Somebody to Love” by Jefferson Airplane.

The label of dark comedy is given to many Coen brothers films. It fits with this one the least. A Serious Man has too much soul, it’s simply too dense to be summarized as even sardonically humorous.  Parts of it will definitely make you laugh, and true, it’s not the most cheerful film, but the comedy is just the tip of the iceberg.

Paradoxically, much of the narrative follows the form of a shaggy dog story, as a series of unfortunate events leads Larry to seek guidance from one Rabbi after another.

Any director can make a film where things go bad, and most have. But it’s the style in which the story is told that makes A Serious Man both unique and striking. Life is paraded as a series of repetitions which form primal rhythms to nuanced effect. It’s the sonic equivalent of Hitchcock’s Rear Window. Imagine the rowboat sequence from Willy Wonka and the Chocolate Factory—just as intense—but stretched out over a feature film. By the end, even reality falters and only the rhythm soldiers go on.

Meaning is constructed on a scene-by-scene basis and added to a reservoir like a painter’s easel. From there, the Coen’s need only select the right hue, or mix of hues, for a particular moment.

A short lecture on Schrodinger’s cat is meaningless in terms of plot, but the idea of science and understanding, creeps up all over the place.

The climax and ending approach perfection and successfully transfer intellectual attention into emotional involvement.

Especially after their Oscar sweep in 2007 with No Country For Old Men, it is downright deplorable that this film is getting such a limited release. Absolutely do not miss it.