Criterion Sunday 401: Night on Earth (1991)

Jim Jarmusch wasn’t unfamiliar with making portmanteau movies (this one or Coffee and Cigarettes), and elsewhere at the very least has divided his films into distinct chapters, as he did in Stranger Than Paradise (one of which was initially released as a short film before he had funding for the rest of the feature). So it’s not unusual for him that here he covers people driving taxis in five different cities, two in the US (LA and NYC) as well as Paris, Rome and Helsinki.

It’s interesting to see people online responding quite differently to each of these five segments. The Roman section is probably the most divisive, but then again it largely depends how you feel about Roberto Benigni as a screen presence. He riffs away on various themes, mostly of the illicitly sexual variety, while driving a priest across Rome, and so the humour is largely broad and upfront. It’s not what Jarmusch is perhaps best known for, and it’s certainly not my favourite kind of humour, so it largely passes me by. NYC is also pretty broad in its humour, but it’s fun to see Giancarlo Esposito and Rosie Perez play off each other, so soon after Do the Right Thing, and they attack it with plenty of energy. Paris, meanwhile, uses one of Jarmusch’s favourite actors, Isaach de Bankolé, and I do always love just watching his face and the way he channels emotions — of course the taxi setup means that watching faces becomes much easier for us as an audience as everyone is facing forward and largely unmoving. That said, the blindness metaphor into which Béatrice Dalle is cast is a little heavy handed.

This leaves the first and last segments, probably my own favourites, because of the way they use the limited space (there is very little that takes place outside the taxi journeys), as well as the iconic actors in each: Gena Rowlands and Winona Ryder in the former; Matti Pellonpää in the latter. He has a face I could watch for ages, and so it’s a great way to wrap the film up, melancholy and doleful though he is.

CRITERION EXTRAS:

  • The main extra is an almost hour-long audio recording of Jarmusch answering questions from fans which have been sent into and filtered by the Criterion office. He is generous with his answers and gives plenty of context to what he was doing with this film, as well as shedding light on his own artistic practice, so it’s well worth listening.
  • Another feature is a 5-minute piece from Belgian TV to mark the release of the film back in 1992, in which they bundle Jarmusch into the back of a Paris taxi and have him talk about the film. He actually hits a few of the same points as he did 15 years later in the Q&A featurette above, but it’s still a good interview.
  • The booklet has five writers linked to each of the cities in the film speak to their section of the film, with evident warmth from many, though they don’t always love their own city’s section the most within the film.

FILM REVIEW: Criterion Collection
Director/Writer Jim Jarmusch; Cinematographer Frederick Elmes; Starring Gena Rowlands, Winona Ryder, Giancarlo Esposito, Armin Mueller-Stahl, Rosie Perez, Isaach de Bankolé, Béatrice Dalle, Roberto Benigni, Matti Pellonpää; Length 128 minutes.

Seen at home (Blu-ray), Wellington, Sunday 21 February 2021 (and earlier on VHS at home, Wellington, December 2000).

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.