Down by Law – 1986 Jarmusch

An accomplishment for its Jarmusian qualities: first and foremost a three-part structural film—New Orleans, then prison, then the escape/swamp. Shot in crisp b/w (Robby Muller is the dp from Paris, Texas– the remarkable Kings of the Road, after this he’d do Dead Man, Breaking the Waves, Dancer in the Dark), deadpan ironies, a fish out of water language barrier (Roberto Benigni character) with a meditative and dreamlike editing vibe/atmosphere
From Camby NYT “the excitement (of Down by Law) comes from the realization that we are seeing a true film maker at work, using film to create a narrative that couldn’t exist on the stage or the printed page of a novel”
scored by John Lurie and songs by Waits- both star in the film
Series of tracking shots to Waits’ uniquely poetic music- 3 times before the credits
Graffiti on the wall in Waits’ apartment, graffiti in prison, the film reeks of bars, cigarettes and bourbon
Garbage art- Wenders an influence—beautiful shot on city streets

Waits and Lurie as so believable as a down and out DJ and a pimp
The jail middle section is a bit of a touch stretch—I could get some crap for this or being accused as a Jarmusch-fanboy but I think Jarmusch wants you to feel the claustrophobia here and wants you to feel that stretch of time even if it’s a bit agonizing
The beautiful trees in the swamp could be from Kalatozov’s Letter Never Sent

Very Louisiana- city (he’s an urban filmmaker) is so important to Jarmusch (name of his town in Paterson– or Memphis in Midnight Train)
He told each scene a beat long- again I believe this is Akerman and Ozu’s influence
The finale is sublime- the fork in the road stunner