Customer Reviews

Down by Law

5 star:		(35)
4 star:		(13)
3 star:		(1)
2 star:		(3)
1 star:		(1)

 

 

This "Down By Law" DVD is a perfect example of why I love the Criterion Collection's catalog. First off, the film looks and sounds fantastic. If you are familiar with this film, you are aware of Lurie's incredible soundtrack. The DVD does not disappoint. Visually, it is stunning. If this DVD package only delivered these elements, I would be happy. But, this DVD is filled to the gills with extras. Not only are there extras, but a double disk of extras! Remember, this is "Down By Law", not LOTR, Star Wars I, etc. This is a borderline cult/ art house film with a small, but strong fan base. Never, never, never would another company pour as much love and energy for the DVD of a film of this type. Take for example "Stranger than Paradise:" no face lift and no extras. "Down By Law" DVD notables: the entire Cannes press conference, Lurie interview for French TV in 1986 plus his 2002 commentary on his interview, extensive audio tracks of Jim Jarmusch discussing the film and answering fans QA (sent from the Criterion web site - Was Tom Waits really drunk? What does 'Down By Law' mean?), Robby Muller interview, Tom Waits video directed by Jarmusch with commentary, etc. etc, etc.

If you are a fan, there is no reason to miss this one. If you are curious about Jim Jarmusch as a director, this is the DVD to start on. A flawless package.

I can't say enough good things about the "Down By Law" Criterion DVD! The high-definition digital film transfer is wonderful and it really shows off Robby Muller's breathtaking b/w camera work. The DVD has 2 discs and the packaging is well done. The first disc contains the film itself and the second disc is packed full of goodies such as the insightful "Thoughts & Reflections" from director Jim Jarmusch, a "2002 Video Interview" with director of photography Robby Muller, "1986 Cannes Film Festival Press Conference" with Jarmusch and cast members John Lurie, Roberto Benigni & Nicoletta Braschi that is fun to watch, a great "1986 Interview" with John Lurie + his hilarious commentary on the interview, a bunch of film "Outtakes" which feature some great never before seen bits (especially with Lurie!) a terrific Tom Waits music video for "It's All Right With Me" also directed by Jarmusch and 3 wonderful recorded phone conversations from 2002 that Jarmusch had with Waits, Benigni and Lurie about making "Down By Law", etc.

The extras on the DVD give an intimate view of this very personal film and are amazing to watch and listen to. It's so complete that I can't imagine what else could be added to the Criterion release to make it more perfect. Many years from now when Jarmusch and the cast have left this sad and beautiful world, this gem will no doubt be a priceless look at one of the best American films ever made by one of America's best directors. Fantastic! One of the best films Criterion has released.

I haven't seen all of Jarmusch's films, but I've seen plenty (Ghost Dog, Mystery Train, Stranger than Paradise, Dead Man) to know this is probably gonna go down as my favorite of them all. Jarmusch and photographer Mueller do a brilliant job setting everything up. Its style is as classic and effective as the film noirs of the 1950s, including the seedy characters, the dialogue, and the moody jazz courtesy of John Lurie, one of the film's stars. Story wise, we're dealing with two lowlifes, a pimp and a recently fired DJ, who don't know each other, who are each set up and sent to prison for crimes they didn't commit. They are thrown in a cell together, and eventually an Italian who accidentally killed a man after cheating at a game of cards (hit him with an 8-ball--CLASSIC!) and find a way to escape. John Lurie is the pimp, Tom Waits is the DJ, and Robert Benigni makes his American film debut as Bob, the Italian. (Ironically, he is the kindest, funniest, most jovial of the trio, yet he is the only one who actually is guilty of the crime he's in for).

I've read the other reviews, and I'm dissapointed in why some people don't like the film. First off, I believe that Criterion has once again given us a top of the line DVD transfer. The extras are great for folks that are into the "hows" and "whys" of a film, as I am, and the transfer itself is clear and beautiful to watch.

The acting may not be the best (Lurie was adequite), the dialogue and storyline are right out of the 50s, and help the mood of the entire thing. The characters are introduced perfectly so that we don't really need to know why they're being set-up. Our imagination can do the walking for us there. We know they're both kind of shady guys, and there are any number of reasons why someone would wanna see them put away, or use them so that someone else doesn't get caught.

And as far as the reviewer wondering why we don't see the dogs, only hear them; don't see the escape, only the afterwards; and don't see the prison, only their cell, the answer is simple: its an indie film made before indie's were all the rage. Jarmusch could only afford so much, and I find that he did an incredible job giving us all the necessary information without having to show us everything that was going on. The only thing I might raise an eyebrow to is Bob and Nicoletta (Benigni's real life wife) falling in love in under an hour or two. But hey, sometimes, if its worth it, you gotta suspend reality. The chemistry between the two characters is enough for me to believe they're in love, so who am I to argue!

All in all, this is one of my favorite movies to watch. Criterion did a great job with this DVD, and at the very least, its a fun flick in the noir tradition, with a bit of a smart-ass underworld, beatnick edge to it.

...but that's just my opinion. I could be wrong.

This unique and original film is a personal masterpiece, a real sleeper. I'd recommed it to anyone interested in non-formula American cinema in general, and fans of the macabre. It ranks up there with some of the better black and white movies of recent times, in the mold of Woody Allen's "Manhattan".

What made this film great for me, was that the director masterly chose to leave out extraneous footage and instead keep our focus on character development - much the way Jean Luc Goddard does. Indeed Goddard's stamp is felt everywhere in this picture, which is why I liked it so much. This is America's answer to neorealism and done very well. The fact that we don't really see exactly how the main characters escape from prison, nor do we see how Zack rescues Bob from his fear of swimming add (rather than detract from) the plot, and give us more time with the personal nature of the characters, their "everyday chit-chat", etc, is what gives this film its charm. I won't give away the ending, but even that is told in an unorthodox manner, which is a breath of fresh air from formula Holywood films.

The acting is surprisingly naturalistic and believable, and Tom Waits gives an especially brilliant performance here. Roberto Bernini is hilarious as the sort of comic sidekick to the two streetwise contenders of the trio - this is a truly original chemistry of character mixes, and the film could have taken the more traditional path of "straight-guy/goofy-guy" as in Laurel & Hardy or Abbot & Costello, but instead wisely opts to break new ground by having two "straight" characters that battle it out for leadership.

The "We All Scream for Ice Cream" segment is one of the funniest bits I've seen in a film in years and should be one of those rare legendary film icons by this point.

The DVD transfer is wonderful - a crisp, clean print that looks great onscreen. Criterion have done yet another great job here.

This is a gem of a movie and I highly recommed it!

Zack (Tom Waits) has just been fired from his job as a DJ and he is thrown out by his girlfriend. Jack (John Lurie) is offered another prostitute under his wings as a pimp by a competitor who wants to make amends. The circumstances lead to both men being framed and they end up sharing a cell in prison. Both men are bitter over their situation and they can hardly stand each others company. One day the peculiar Roberto (Roberto Benigni) is put in the same cell with Jack and Zack. This is the beginning of a new friendship between the three men where Roberto is the glue that holds the friendship together. Down by Law is an intelligent and cynical film that is presented in an anxious societal situation, which provides amusement for the audience.

This is the only movie I have ever seen and never forgotten...I have been to 3 continents searching for this video. Please arrange to release it for sale. It is always at the top of my "best ever seen movies". Jim Jarmusch is an extraordinary director.

Textures. Layers of it. Curtains of sinister chiaroscuro draping a seedy New Orleans town. The grey, impassive sterility of a Cajun prison. And the dense lushness of bayou county swampland that seduces like a voodoo incantation. In this Louisiana of the mind lurks slivers of humanity. Or its dregs. Three stooges, in fact - - - singer Tom Waits, a DJ, Lounge Lizard John Lurie, a framed pimp, and a pre-Oscar Roberto Benigni, a chatty murderer. Sardined into a jail cell, they play cards, argue and escape into the gnarled embrace of the tapioca swamp. Junkyard percussion taps out the fractured heartbeats of its three principal shadow players in Jim Jarmusch's beguiling second feature. A chaingang comedy starring Moe, Larry and Godot. Innocuously charming, stunningly acted and so gorgeous, it's calligraphic.

Jarmusch's Down by Law opens with Tom Waits's seemingly nonsensical song "Jockey Full of Bourbon" playing in the background as the camera films various poor sections of New Orleans. However, while the song's lyrics might seem nothing more than a series of random phrases, it is quite fitting because they are a good representation of the absurdity of life and how chance circumstances can lead one on completely unexpected paths in life.

Filmed totally in black and white, which gives the already grim scenery an even grainier appearance, the film follows two characters, Zack (Tom Waits) and Jack (John Lurie), and the circumstances leading to their imprisonment. Both men set up by "friends" who seemingly had a bone to pick with them and while in prison they are introduced to a third fellow named Roberto who eventually helps them escape from prison.

While the above description is quite bare boned, it does sum up most of the film's "action" however, those who are familiar with Jarmusch's filmic work should be well aware that the minimalist director rarely, if ever, does anything overblown, but instead allows the humor of his films to seep through with dialogue and bantering amongst his characters. In fact much of the film takes place within the confines of a small jail cell. The music, by Tom Waits, is, as with almost every Jarmusch film, quite excellent.

While Down by Law might seem like nothing more than talking heads to some viewers, for those who enjoy simpler films that are stripped down to the bare essentials while still maintaining a great sense of humor, Down by Law is a great film to see.

After six or seven viewings, Down By Law has lost none of its appeal. In some ways the enjoyment is enhanced by the anticipation of some comment or gesture. It's hard to think of a movie that had better chemistry between three men, and if Jarmusch ever chanced to make a sequel, I'd be waiting at the delivery truck. A truly seemless masterpiece.

Jarmusch's masterpiece, and one of the hardest to track down. This is a film loaded with poetry, allegory, wisdom, and wit. Waits "You Can't Live In The Present Forever" , Lurie "In this case Bob, I think you say I look AT the window", and Benigni "it's a sad and beautiful world" are framed and stuck sharing a jail cell in New Orleans. Stubborn and coated in an exoskeleton of cool , Zak & Jack are eventually charmed and disarmed by the accidental poetry of Bob's broken english in a primal jail house rocking WE SCREAM FOR ICE CREAM dance. They must unite if they want to separate as individuals, vital to Zak and Jack, literal mis-fits by design, deluded "iconoclasts." The trio are a restless post-modern Three Stooges noire, seeking escape from a real and symbolic jail cell whereupon each begins their own Odyssey, the cross -culturally verified journey of knowledge that anyone must make at some point in their lives if they are to be meaningful. The film offers earthy ironies and epiphanies to indy film snobs and mall fodder alike. Literal and verbal depictions and references to Whitman's Leaves of Grass and Frost's sneaky and oft misinterpreted The Road Less Traveled are useful and be sure to absorb the symmetry, choreography, unwasted space, and the left right black white tick tock quid pro quo composition of this sublime picture. -Jim Neill jimneill@yahoo.com