Customer Reviews

Stranger Than Paradise

5 star:		(27)
4 star:		(10)
3 star:		(7)
2 star:		(3)
1 star:		(7)

 

 

This deceptively simple movie, Jim Jarmusch's first, has been called the first modern independent film. Shot in black and white, it follows the nonadventures of three completely aimless characters, Willie, Eddie and Willie's cousin Eva. The first scenes mostly show Willie lying in bed or smoking a cigarette in his dingy Brooklyn apartment. His friend Eddie visits and they sit silently drinking beer. When Cousin Eva from Hungary arrives, the three of them sit around watching television. Not very exciting maybe, but there is a subtle genius to the way this film progresses. Eva goes to Cleveland to live with her aunt; Eddie and Willie decide to visit her. Soon the three drive down to Florida. Each landscape is portrayed as desolate and depressing. The shots look like black and white photos from the Old West, or perhaps the depression. Gradually the three interact and display emotion, though it is all within the rigid confines of their incredibly limited existence. There is quite a bit of deadpan humor, which works precisely because the actors seem unaware of it. The performances are all completely natural and understated, containing none of the self-conscious hipness of many more recent art films. This is probably the closest any film has come to portraying a pure existentialism that is both funny and tragic. These characters utterly lack any sense of purpose, ambition or connectedness to a wider world. What's more and what is a little disturbing is the way this film, if you get into the spirit of it, makes you seriously question whether anyone can truly break through these limits. On one level, we can wonder at and laugh at the apparent stupidity of these people as they sit in silence or engage in ridiculous conversations about nothing. On another level these scenes have an honesty and simple intensity that makes you (or me at least) suspect that the grandiose plans, action and meaning that fills the screen in most other films is mainly pomp and vanity. I admire the way Jarmusch allows nothing to happen much of the time. It's a refreshing contrast to mainstream films filled with mindless action, tediously hip dialogue and "meaningful" relationships. Not that all films should be like Stranger Than Paradise; but its unique style puts other films --and life--into a new and greater perspective.

An excellent example of why independent films are so invaluable, "Stranger Than Paradise," written and directed by Jim Jarmusch, is a bare-bones production that never would have found the light of day in the mainstream. Essentially a character study, the story is a glimpse into the lives of three people: Willie (John Lurie); his cousin, Eva (Eszter Balint), recently arrived in New York from Hungary; and Willie's friend, Eddie (Richard Edson). After a couple of weeks in the Big Apple with Willie, Eva moves to Cleveland to live with their Aunt; a year later, Willie and Eddie are off to visit her. One thing leads to another, and the trio wind up in Florida (the designated paradise of the title). Watching this film is like spending time with some people you know; the characters are real people, so much so that watching them becomes almost voyeuristic, the camera somehow intrusive, exposing as it does the private lives of these individuals. It succinctly captures their lack of ambition, the ambiguity with which they approach life, and the fact that they seemingly have no prospects for the future beyond whatever a lucky day at the track affords them. The action, such as it is, is no more than what you would find in the average day of someone's life. The dialogue is what drives the film, though frankly, nothing they have to say is very interesting. And yet, this is an absolutely engrossing film; sometimes amusing, at times hilarious, but mesmerizing throughout. The performances are entirely credible, and again, you never have the sense that these are actors, but rather real people who happen to have had some moments from their lives filmed and presented to the audience for perusal. Jarmusch has an innate sense of capturing the essence of the everyday and transforming the most simplistic and mundane events into refreshingly documented, worthwhile viewing. It's an inspired piece of film making, helped to some extent by the stark black&white photography that adds to the realism of the overall proceedings. The use of brief blackouts during transitions works effectively, as well as providing the film with a unique signature. Original music is by Lurie, but the highlight is the use of the song "I Put A Spell On You," by Screamin' Jay Hawkins, used recurringly throughout the movie, and which exemplifies that special touch Jarmusch brings to his projects. And there's a superb bit of irony at the end that really makes this gem sparkle. The supporting cast includes Cecillia Stark (Aunt Lotte), Danny Rosen (Billy), Tom DiCillo (Airline Agent), Richard Boes (Factory Worker) and Rockets Redglare, Harvey Perr and Brian J. Burchill (as the Poker players). "Stranger Than Paradise" may not be to everyone's liking, but to those seeking an alternative to the typical Hollywood big-budget fare available, it just may fit the bill and provide a satisfying, entertaining experience.

Mundane and deliberately paced, yet strangely appealing, this oddball ultra-low-budget movie (made with left-over film stock given to Jarmusch by director Wim Wenders) from Jarmusch deals with three people who take an unsuccessful road trip from Detroit to Florida.

The DVD reveals the limitations of the original film, both in terms of sound and picture. It's grainy thoughout, and the dialogue does not always sound clear. Luckily, both of these strike you as appropriate for this film. Jarmusch's characters stubbornly refuse to reveal much of anything about themselves, either to the audience or to each other.

Many find Stranger than Paradise difficult to watch, mostly because of Jarmusch minimalist approach to this film, along with the fact that boredom, frustration, and disappointment are the primary elements of the film's subject. There's very little action. . .it's not funny, exactly. . .there's not a lot of drama. . .there's no sex. . .but somehow it still manages to succeed without all of that.

I saw this film years ago when it first came out at a little independent theatre in Boston's Back Bay. It has lingered with me all this time, and I finally broke down and bought the DVD. I had to see it again. This is first rate stuff. Jarmusch has done what most directors can only dream of doing, creating a witty, off-beat film on the most thread bare of budgets, driven by gritty compelling characters. The humor is so dry as to leave your throat parched at film's end, but don't be disappointed. It is truly a memorable film.

Stranger Than Paradise not only announced the arrival of an original filmmaker with Jim Jarmusch, but also signaled the arrival of a new wave of American independent cinema along with the Coen brothers' Blood Simple and Spike Lee's She's Gotta Have It. Jarmusch's film came as a response to the impersonal commercial filmmaking of the Hollywood studios. His film was originally nothing more than a 30-minute short film shot from 40 minutes of extraneous film stock donated by German filmmaker Wim Wenders. Eventually, Jarmusch came into a small sum of money -- $120,000 worth -- and was able to complete the film.

Described by Jarmusch as The Honeymooners by way of Ozu, Stranger introduced his trademark style: minimal sets and long, uninterrupted takes with very little camera movement that are punctuated by the occasional fade to black. It is a funky mix of deadpanned American humour and a European visual sensibility. Stranger was made during the dawn of MTV and its success seems rather odd considering that it was the antithesis of most films being made in America at the time. The rather slow, meandering pace of Stranger did not conform to the quick cut, music video style that was fashionable at the time. His characters also lacked any sort of real ambition which was a world apart from most mainstream films. His approach seems downright revolutionary now as people's collective attention spans have gotten considerably shorter.

Stranger Than Paradise won the Camera d'or at the 1984 Cannes Film Festival and was soon heralded by many critics as a watershed film in American independent cinema. Much has been written about the film's outsider view of America and to be fair, the sparse visuals and down-on-their-luck hipsters that populate this film certainly flies in the face of the materialism of the 1980s, making it just as unique and significant today as it was back then.

Fans of this film can finally toss the crappy, bare bones MGM DVD as Criterion has given Jarmusch's film their deluxe treatment.

Perhaps the most substantial extra is the inclusion of Jarmusch's feature film debut, Permanent Vacation (1980). It's about the story of Ally Parker (Chris Parker), the prototypical Jarmusch protagonist - an alienated outsider. Jarmusch's stylistic approach is intact but with an even more non-sensical narrative that seems avant garde in nature.

"Kino '84: Jim Jarmusch" was produced for German television in 1984 and features interviews with some of the cast and crew from Permanent Vacation and Stranger Than Paradise. They all look so young and were just starting out. It's a nice snapshot of the times with the normally media-shy Sara Driver (Jarmusch's significant other) recounting filming anecdotes.

"Some Days in January 1984" is a 14-minute, Super 8 behind-the-scenes silent film shot by Tom Jarmusch. It looks like home movies as we see cast and crew freezing in Cleveland.

"Location Scouting" is a collection of black and white photographs taken while Jarmusch was checking out locations to use in the film. Sadly, they don't say where in Florida they were but these stills do look excellent.

Finally, there are U.S. and Japanese trailers for the film.

I'm laughing at some of these reviews. Nothing happens? There really is no message? Boring? No character depth?
People, it's not hard to get an education in this country. Maybe some you should look into enrolling somewhere.

There are immensly tantilzing themes in this movie which are dramatized so beautifully it's almost painful. Not one person touched on the startling power of a young man who falls in love with his own cousin. Talk about immposible love. Or the slow, almost invisible build of their friendship told exclusively through subtext revealed through a bare minimum of words.

No theme? The scene of three young people looking out into the white fog over a winter lake not obvious enough? This image perfectly captures the frustration of looking for an illusive, promised paradise in the land of milk and honey.
These aren't three boring people with boring lives. This is us. Get it?

The first time I watched "Stranger than Paradise" was by accident. I turned on the TV - at the time I lived in Berlin/Germany - and there was this piece of film that was strange and fascinating and different and beautiful. Black and white and seemingly slow compared to Hollywood Standards. If normal movies are like novels, then this movie is like poetry. It truly is a piece of art. The photography is strong and beautiful but never without a purpose. This is one of the few movies where images tell the story. I watched it many times and I love it more than any other movie I have seen in my lifetime. It is "stranger than paradise".

It's hard to believe that over 20 years have passed since "Stranger Than Paradise" firmly established Jim Jarmusch's unique, patented blend of long, static camera takes with his inscrutably deadpan observances on the inherent silliness of homo sapiens.

Jarmusch regular John Lurie is Willie, a brooding, too-cool-for-school New York City slacker who spends most of his time hanging out with his endearingly goofy buddy Eddie (Richard Edson). Both men suffer from terminal boredom, which is somewhat alleviated by their bemused, low-key bickering (leave it to Jarmusch to create characters who manage to be remain bored and uninspired while living in the world's most exciting city! But then again, wasn't that the very premise behind "Seinfeld"?)

Enter Eva (Eszter Balint), Willie's long-lost teenaged cousin from Hungary, who unexpectedly shows up one day (much to his chagrin). Eddie is intrigued, but the misanthropic Willie has no desire for a new roommate, blood relative or not, and Eva decides after a few days that she would probably find more welcoming accommodations with the pair's Aunt Lotte (delightfully played by Cecillia Stark), who lives in Cleveland.

Flash forward one year, and we find Willie and Eddie still sitting around the apartment, still bored silly, still engaged in the same petty bickering. Eddie convinces Willie that a road trip to Cleveland (in the middle of winter?!) might be just the ticket to break them out of their rut. Willie grumpily agrees, and off they go to visit Aunt Lotte and cousin Eva. In order to avoid spoilers for those who have not seen the film, suffice it to say that the interpersonal relationships take some unexpected turns, and more road trips ensue. Oh-and I guarantee you will have Screamin' Jay Hawkins tunes in your head for days!

It's worth noting that future director Tom DiCillo ("The Real Blonde", "Living in Oblivion") did the fine black and white DP work on the film, demonstrating an eye for gleaning the strange beauty in the stark, wintry, industrial flatness of Cleveland and its Lake Erie environs.

"Stranger Than Paradise" is generally held up along with a select handful of early 1980's releases (like Spike Lee's "She's Gotta Have It" and Wayne Wang's "Chan Is Missing") as one of the low-budget wonders that helped spark the post-Cassavetes indie film movement that continues to thrive today. Kudos to Criterion for thier reissue.

A Hungarian girl goes to visit her cousin who lives in the ugliest apartment in the ugliest part of New York City; then the cousin and his best friend go to visit the Hungarian girl who now lives in the ugliest house in the ugliest part of Cleveland; then all three of them take a road trip and end up at the ugliest hotel in the ugliest part of Florida. Along the way nothing happens, and then it happens again. A great film, and an important one too, that I thoroughly enjoyed watching.

Jim Jarmusch's first release, "Stranger Than Paradise" is a brilliant and sarcastic rebuttal to Wim Wenders' "Kings Of The Road" which posits (from a German perspective) that "The Americans are colonizing our minds". "STP" takes the view that yes, perhaps we are, but what are Americans often but displaced Europeans high on a west African transcendentalist groove? ("I got a spell on you" by Screamin' Jay Hawkins figures prominently in the film) And that sometimes, the Europeans (Esther Balint) can be more American than the natives. In either case, both in Kings of the Road and Stranger Than Paradise, culture and its appreciation is the province of those somewhat outside the mainstream; those who can maintain an aloof, ironic, but not disinterested distance.

Tim