The covers of those early Bob Dylan albums are monochrome or subdued in colour. Freewheelin’ from 1963 shows the curly haired troubadour in a tan leather jacket sauntering down the centre of brown-and-blue tinted Fourth Street in Greenwich Village, arm in arm with a smiling, russet-haired girl. The world is at his feet. This will not be the lot of Llewyn Davis. The moment is not right – the film is set just a little early, barely easing out of the 1950s. The folk scene in Greenwich Village is earnest but not yet popular when Llewyn Davis (a man possessed of as Celtic a name as Robert Zimmerman would assume) is lugging his songs of travelling and sailing and kings and queens of old around the clubs. The colour palette of the Coen Brothers’ film is certainly muted, with th