Background: Rasputin was born a peasant in the small village of Pokrovskoye, along the Tura River in the Tobolsk guberniya (now Tyumen Oblast) in Siberia. According to official records, he was born on 21 January [O.S. 9 January] 1869, and christened the following day. He was named for St. Gregory of Nyssa, whose feast was celebrated on January 10. There are few records of Rasputin's parents.
Context: In 1897, Rasputin developed a renewed interest in religion, and left Pokrovskoye to go on a pilgrimage. His reasons for doing so are unclear: according to some sources, Rasputin left the village to escape punishment for his role in a horse theft. Other sources suggest that he had a vision - either of the Virgin Mary, or of St. Simeon of Verkhoturye - while still others suggest that Rasputin's pilgrimage was inspired by his interactions with a young theological student, Melity Zaborovsky. Whatever his reasons, Rasputin's departure was a radical life change: he was twenty-eight, had been married ten years, and had an infant son with another child on the way. According to Douglas Smith, his decision "could only have been occasioned by some sort of emotional or spiritual crisis."  Rasputin had undertaken earlier, shorter pilgrimages to the Holy Znamensky Monastery at Abalak and to Tobolsk's cathedral, but his visit to the St. Nicholas Monastery at Verkhoturye in 1897 was transformative. There, he met and was "profoundly humbled" by a starets (elder) known as Makary. Rasputin may have spent several months at Verkhoturye, and it was perhaps here that he learned to read and write, but he later complained about the monastery itself, claiming that some of the monks engaged in homosexuality and criticizing monastic life as too coercive. He returned to Pokrovskoye a changed man, looking disheveled and behaving differently than he had before. He became a vegetarian, swore off alcohol, and prayed and sang much more fervently than he had in the past.  Rasputin would spend the years that followed living as a Strannik, (a holy wanderer, or pilgrim), leaving Pokrovskoye for months or even years at a time to wander the country and visit a variety of different holy sites. It is possible that Rasputin wandered as far Athos, Greece - the center of Orthodox monastic life - in 1900.  By the early 1900s, Rasputin had developed a small circle of acolytes, primarily family members and other local peasants, who prayed with him on Sundays and other holy days when he was in Pokrovskoye. Building a makeshift chapel in Efim's root cellar - Rasputin was still living within his father's household at the time - the group held secret prayer meetings there. These meetings were the subject of some suspicion and hostility from the village priest and other villagers. It was rumored that female followers were ceremonially washing him before each meeting, that the group sang strange songs that the villagers had not heard before, and even that Rasputin had joined the Khlysty, a religious sect whose ecstatic rituals were rumored to included self-flagellation and sexual orgies. According to historian Joseph Fuhrmann, however, "repeated investigations failed to establish that Rasputin was ever a member of the sect," and rumors that he was a Khlyst appear to have been unfounded.
Question: did they ever attack him?
Answer: 

Background: Barton Fink is a 1991 American period film written, produced, directed and edited by the Coen brothers. Set in 1941, it stars John Turturro in the title role as a young New York City playwright who is hired to write scripts for a film studio in Hollywood, and John Goodman as Charlie, the insurance salesman who lives next door at the run-down Hotel Earle. The Coens wrote the screenplay for Barton Fink in three weeks while experiencing difficulty during the writing of Miller's Crossing. They began filming the former soon after Miller's Crossing was finished.
Context: In 1989, filmmakers Joel and Ethan Coen began writing the script for a film eventually released as Miller's Crossing. The many threads of the story became complicated, and after four months they found themselves lost in the process. Although biographers and critics later referred to it as writer's block, the Coen brothers rejected this description. "It's not really the case that we were suffering from writer's block," Joel said in a 1991 interview, "but our working speed had slowed, and we were eager to get a certain distance from Miller's Crossing." They went from Los Angeles to New York and began work on a different project.  In three weeks, the Coens wrote a script with a title role written specifically for actor John Turturro, with whom they'd been working on Miller's Crossing. The new film, Barton Fink, was set in a large, seemingly-abandoned hotel. This setting, which they named the Hotel Earle, was a driving force behind the story and mood of the new project. While filming their 1984 film Blood Simple in Austin, Texas, the Coens had seen a hotel which made a significant impression: "We thought, 'Wow, Motel Hell.' You know, being condemned to live in the weirdest hotel in the world."  The writing process for Barton Fink was smooth, they said, suggesting that the relief of being away from Miller's Crossing may have been a catalyst. They also felt satisfied with the overall shape of the story, which helped them move quickly through the composition. "Certain films come entirely in one's head; we just sort of burped out Barton Fink." While writing, the Coens created a second leading role with another actor in mind: John Goodman, who had appeared in their 1987 comedy Raising Arizona. His new character, Charlie, was Barton's next-door neighbor in the cavernous hotel. Even before writing, the Coens knew how the story would end, and wrote Charlie's final speech at the start of the writing process.  The script served its diversionary purpose, and the Coens put it aside: "Barton Fink sort of washed out our brain and we were able to go back and finish Miller's Crossing." Once production of the first film was finished, the Coens began to recruit staff to film Barton Fink. Turturro looked forward to playing the lead role, and spent a month with the Coens in Los Angeles to coordinate views on the project: "I felt I could bring something more human to Barton. Joel and Ethan allowed me a certain contribution. I tried to go a little further than they expected."  As they designed detailed storyboards for Barton Fink, the Coens began looking for a new cinematographer, since their associate Barry Sonnenfeld - who had filmed their first three films - was occupied with his own directorial debut, The Addams Family. The Coens had been impressed with the work of English cinematographer Roger Deakins, particularly the interior scenes of the 1988 film Stormy Monday. After screening other films he had worked on (including Sid and Nancy and Pascali's Island), they sent a script to Deakins and invited him to join the project. His agent advised against working with the Coens, but Deakins met with them at a cafe in Notting Hill and they soon began working together on Barton Fink.
Question: who did they find instead to do it?
Answer:
The Coens had been impressed with the work of English cinematographer Roger Deakins,