Criterion Sunday 400: Stranger Than Paradise (1984)

This isn’t New York filmmaker Jim Jarmusch’s debut feature film (that would be 1980’s Permanent Vacation), but already there’s a strong sense of what would be his signature style during the 1980s, the deadpan delivery, single shot long takes, the grungy (yet oddly beautiful) black-and-white cinematography of these interchangeable American locales. The opening shots see Eszter Balint’s youthful Eva wandering the streets of what looks like New Jersey from the street signs, though she eventually finds her way to stay with her cousin in Brooklyn (John Lurie). She’s from Hungary and her cousin was too, where he was Bela, but now goes by Willie and is trying hard to put the immigrant identity behind him. His friend Eddie (Richard Edson) stops by and the film… well, “gets going” doesn’t seem quite right, but all the characters are now in place. Ultimately it’s not about what they do (they hang out, they get on the road to Cleveland, they mooch about some more), but about this sense of America as a place where identity can be subsumed. Willie’s aunt tries desperately to cling to the old ways and refuses to speak English to him, but there’s little that identifies her home as different from anywhere else the trio go; even Florida has the same sense of gloomy dereliction at the end. It’s a film in which the characters move around a lot but ultimately don’t seem to do anything.

CRITERION EXTRAS:

  • Chief among the extras is a West German documentary, Kino ’84: The Making of Jim Jarmusch (1984, dir. Martina Müller), which catches up with him during the making of Stranger Than Paradise after it seems his 1980 debut Permanent Vacation had gained him something of a profile in that country, and so features interviews with that latter film’s star Chris Parker, as well as his DP Tom DiCillo — whose lack of interest in continuing in this job prompts Jarmusch to suggest some cinematographers he’d like to work with (including the one he did). There are also shorter bits with Lurie, Edson and Balint, as well as the brief appearance of Sara Driver. It’s good to see how Jarmusch was working back then.

FILM REVIEW: Criterion Collection
Director/Writer Jim Jarmusch; Cinematographer Tom DiCillo; Starring John Lurie, Eszter Balint, Richard Edson; Length 89 minutes.

Seen at home (Blu-ray), Wellington, Saturday 20 February 2021 (and earlier on VHS at home, Wellington, February 1998).

Criterion Sunday 166: Down by Law (1986)

One of Jarmusch’s early minimalist existentialist black-and-white films, structured around a fairly genre setup (crimes, trials, imprisonment, escape) without bothering to show any of the mechanics, just the interpersonal relationships of its three leads. It really looks gorgeous thanks to Jarmusch cannily recruiting Wim Wenders pre-eminent DoP of the 1970s, Robby Müller, and the style works well within that high-contrast black-and-white frame. The New Orleans/Louisiana setting is used well for its expressive architectural and natural possibilities, though the film is a little less sure-footed when it comes to race, which you’d think would be a bigger part of a story from that part of the world. But what it does do, it does with exemplary finesse, that same spare deadpan storytelling that Jarmusch would continue to deploy throughout his career. There’s also a memorable comic turn from Roberto Benigni, a figure who would become far more grating in the following decade.


FILM REVIEW: Criterion Collection
Director/Writer Jim Jarmusch; Cinematographer Robby Müller; Starring John Lurie, Tom Waits, Roberto Benigni; Length 107 minutes.

Seen at a friend’s home (DVD), London, Sunday 6 August 2017.

Criterion Sunday 42: Fishing with John (1991)

The Criterion Collection certainly throws up some oddities from time to time (who will ever forget — or forgive — Armageddon?) but Fishing with John is one of the odder entries, being the six episodes of a TV series made by John Lurie (hence the ‘creator’ rather than ‘director’ credit) and screened originally in 1991. It’s nominally a fishing show, in the sense that he takes a bunch of (male) celebrities out on the water in various places attempting to catch fish, but tonally it feels more of a piece with Twin Peaks or the offbeat deadpan stylings of early Jim Jarmusch (in whose films Lurie occasionally popped up, and who is his guest in the first episode). Things proceed in a laidback manner, as the two men travel to their fishing boat, or eat in cafes and drink in bars, and fall to chatting. Indeed, they tend to have very little success at the actual fishing. The conversations have a roundabout, somewhat surreal quality, but the most overt humour comes from the (extremely unreliable) narration, taking an omniscient viewpoint in the style of such shows, but undercutting it with deadpan drollery. In a sense, nothing much happens, but the journey is pleasantly diverting.


FILM REVIEW: Criterion Collection
Creator [Director] John Lurie; Cinematographers Michael Alan Spiller, Tom Krueger, James Nares and Steven Torton; Starring John Lurie, Dennis Hopper, Willem Dafoe, Matt Dillon, Tom Waits, Jim Jarmusch; Length 147 minutes (in six episodes of c24 minutes each).

Seen at a friend’s home (DVD), London, Sunday 5 July 2015.