All Larry Gopnik is trying to do is be a serious man, as he explains to the three rabbis he visits. He doesn’t know why his life is falling apart — everything that is happening to him is beyond his control. But surely, though, the good-natured physics professor will prevail, won’t he?

The Coen brothers, Joel and Ethan (“Burn After Reading”), return to the director’s chair to deliver another characteristically dark comedy in “A Serious Man.”

The Coens deliver a much more personal film this time around in a sort of “home away from home” approach. It is loosely based on their childhood experiences in a Jewish community in Minnesota during the ’60s.

This aside, however, the Coens ditch the regular faces that appear in their films. Gone are the brothers’ arsenal of frequent acting collaborators — including the likes of George Clooney, John Turturro, Steve Buscemi, Frances McDormand and John Goodman, to name a few — who, between them, have appeared in the Coens’ entire filmography. Instead, the Coens introduce Michael Stuhlbarg (“Body of Lies”), who is better known for his Tony Award-nominated performances in theater than his scattered television appearances. This is not only Stuhlbarg’s first lead in a film but also his first prominent role, and wow, does he execute.

Roger Deakins (“Revolutionary Road”) returns as the Coens’ trustworthy cinematographer. With bright yet stale coloring, Deakins captures the charmlessness of this Jewish suburb.

Larry leads a humble life. He sends his kids to Hebrew school, though his son is a pothead and never pays attention in class, and his daughter is seemingly fixated on doing her hair. Larry’s feckless brother, Arthur (Richard Kind, “The Visitor”) lives in the house with a quite distasteful health condition and a gambling problem. Larry then sees his life take a sharp nosedive into concrete without a thing he can do about it.

One of his students attempts to bribe him with an envelope full of cash for a better grade and his wife wants to get a divorce and live with his best friend. Larry is stretched thin for cash after getting in an auto accident and paying rent at the Jolly Roger — the motel he moves into with his brother after being kicked out of his home. Soon thereafter, the family of the disgruntled student threatens a lawsuit and his application for job tenure is at risk when libelous letters are sent anonymously to his superiors.

It is inaccurate to say what Larry is experiencing is a midlife crisis. He is not struggling to find his identity, nor does it appear that he was unsatisfied with his life before this. He has done nothing to deserve this misfortune and is completely bewildered. It appears that bad luck has simply taken a liking to this fellow. In confusion, he seeks guidance from three rabbis who prove to be hilariously unhelpful. But surely this righteous man is just being tested to prove his worth, and he is capable of overcoming it, right?

Stuhlbarg plays the part perfectly with graceful confusion, stammer and uncertainty. He never lets the audience feel sad for what is happening to him, which shows, rather than tells us, a lot about Larry’s character.

While the film is serious throughout, there are laughs in nearly every scene. The Coen brothers have turned in one of their very best performances as directors. If you thought “The Office” mastered deadpan comedy, take a look at what the Coen brothers have produced.

To add to the hilarity, the film hosts close to a dozen characters who appear in one to three scenes at the most and deliver laughs in such restrained outrageousness. Larry may be the only sane person in the film.

Although, maybe his son is sane as well. Aaron Wolff makes his theatrical debut as Danny Gopnik, a middle school-aged kid with his bar mitzvah steadily approaching. Wolff does not play the role awkwardly, which is all you can ask from a childhood actor. He stays afloat and captures the stoned effect well.

Throughout the film’s great moments, there’s only one complaint: If only the Coen brothers made clear how all of these elements come together before the film’s last, oh … 10 seconds.

4 stars out of 5.