Another incredible effort from Jarmuch—like Ghost Dog or Dead Man is the story of a loner—like Night on Earth it’s broken up into 5 acts (here the reason for the division is tracking down the 5 women- past lovers)
Absorbing attention to nuance—paced, lets the camera linger- minimalism and formalism
Instead of Waits, Lurie, Neil Young or the Rza we have a score by Ethiopian artist Mulatu Astatke- repetition
A major feather in the cap for Bill Murray—a perfect actor for the Jarmuscian deadpan and pathos—Ebert compares him to Buster Keaton here
Murray is the film’s center from an acting standpoint (Jarmusch’s formal rigor is the film’s true center)—great scene of him bruised in the rain at the cemetery with a tear coming down—meditation on loneliness- melancholy, hurting
Rhythmic – repetition—he’s in the car, airport (final shot of Stranger in Paradise), pink flowers, same jump suit uniform
Clues in the production design- Mark Friedberg—Darjeeling, If Beale Street Could Talk—here we have the use of pink, Swinton’s typewriter and bike, Sharon Stone’s robe, her daughter’s cell phone, basketball hoops (which the camera hints at), pink business card, pearl necklace
A few broader comedy moments that are great like the “I’m a stalker in a Taurus line” and the Lolita joke
For Murray it’s makes for yet another pairing as an auteur collaborator-God and deadpan ennui with Lost in Translation and Rushmore
Endearing relationship with neighbor Jeffrey Wright- a fish out of water friendship—big family, Ethiopian Sam Spade
Reoccurring shot of CD deck (Ghost Dog), driving in car (Night on Earth)—
Twice we get the shot behind Murray as we slowly move in on his back—I want more of this formalism actually
The ending 360 shot- he’s lost—slow motion of another young man making eye contact with him
The editing a major achievement—it fades to black in every scene. It creates a minimal mood—editor Jay Rabinowitz did Dead Man, Requiem For a Dream and Tree of Life
Leave A Comment