Stranger Than Paradise

Watched for the second time the other night, and was struck how formal this really is. Every scene is a single take, some static, some with very stylized camera movement (static shot up the street to an approaching car; pick up car and track it as it passes, static again as it drives off). Occasionally an actor wanders off screen to the right, despite the camera trying to keep up; just this slight effect, surrounded as it is by so much silence and stillness, is enough to produce a slight frisson of tension. Blackouts separate the scenes, but either ambient sound or music cues continue as transitions during the cuts.

The main characters' costumes underline their alienation from the world around them. Judging from the props & surroundings, film seems to be set in contemporary (early-1980s) time. Willie and Eddie dress and act like late-Fifties/early-Sixties racetrack touts, and they seem most at ease in the retro living room of Aunt Lotte, who presumably left Hungary during that period. Eva's costumes likewise proclaim 'outsider,' though the dreary black she wears can signify either a refugee from East Europe or a jaded bohemian poseur.

First viewing a number of years back, I thought the film was offhanded and casual, with not much going on. A second viewing changed my mind - the absolute minimalism of the plot and dialogue leave plenty of space to explore Jarmusch's technique, composition, etc. It made me laugh out loud a couple of times, too.

Stranger Than Paradise, which put filmmaker Jim Jarmusch on 'the map' in the small but superlative crop of independent filmmakers of the eighties (he was the first, then came the Coen Brothers, then Spike Lee, and then culminating in the 90's with the 'new wave' of independent filmmakers). What he presents here is a unique little treatise on youth, on the subtle and disconnected qualities that go in life when you don't have much to do. In a way it's an existentialist film without many very serious questions to deal with story or even character-wise (except until maybe the last fifteen minutes in the "Paradise" segment). Like a French New-Wave film, to which Jarmusch was heavily influenced by (i.e. the gorgeous, grainy black and white photography by Tom DiCillo), he leaves more for the audience to ponder, as they go along on their journey.

One of the things that Stranger Than Paradise has going for it is a sort of realism that, like and not-like a Wes Anderson film for example, is off-beat. Only here it is more of an urban sort of landscape and interiors that Jarmusch gives us with, along with its three principles. John Lurie as Willie is very good at having attitude when he needs it, but in reality is rather low-key in his 'hip-ness'. His cousin from Hungary pays him a visit (Eszter Balint as Eva, maybe too low-key at times, though appropriately observant of foreign territory). There is also his faithful companion Eddie, played in a great supporting tone and style by Richard Edson. The first segment of the film deals with her in New York. The second one has Eddie and Willie go to Cleveland to pay Eva a visit. Then in the third segment they go down to Florida to have some fun, only to have anything but.

In other words, those looking for a film where a lot of things 'happen' may be disappointed, or just bored. I've seen the film twice now, and on the first viewing I was a little detached from what was going on on screen, which is just little things going on with the characters, like one would see in everyday life. But on the second viewing I somehow connected more with these characters, the youth that seem to drift needlessly along. The editing of the film is also the most simplistic, though highly effective, in adding to the disconnected quality of Jarmusch's direction- no cuts during dialog, just fading to black, fading up, fading to black, fading up (Jarmusch would continue this with Down by Law and Dead Man, though not as frequent or strategic).

In fact, the whole film is rather deliberate in its style, but as the song that plays several times in the film "I Put a Spell On You" from Screamin' Jay Hawkins plays, it does work to bring a viewer in...or not. Like many in the "art-film" world, almost all of Jarmusch's films are either liked or not, and I think that's appropriate for his stories, which often deal with low-key characters dealing with unusual but either realistic or metaphorical situations. One thing I can say for certain, much like the French new-wave films inspired by it, it's imitated, but not equaled in its form.

Odd and inspiring. This film rings true with rich detail in its depictions of utter loneliness. Smoking many Chesterfields, watching television, playing solitaire, visiting Aunt Lottie, sightseeing at Lake Erie (for God's sake). It alters from tragic to comic from almost moment to moment, and often has a foot in both pools.

Jarmusch is minimalist to the core with this one, and yet manages to pull off a solid story. A small black and white gem that deserves a larger audience.

Reading over the comments so far, it seems that most people think this film is great, with a rare few criticizing it for being a boring 'student-film'.

People, this is for sure not a film for those who've been brutalized by too much Hollywood cinema - it's a quiet movie that you absorb slowly. It's very well done and quite absorbing. Sure it makes me think of so-called student-films (my brother is in film school), but that's not to say it's not a damn good one. There's something to be said for beautiful photography (the black and white images go so well with the feelings of emptiness and coldness) and the search for a meaning in life. These people are desperately in need of meaning and affection, none of which they seem to be able to find - or give. This is a movie about that desperate search.

And it's well worth seeing - for those with a bit of patience and artistic sensibility. It's a movie about emptiness for sure, but is by no means 'boring'. I'd give it 4/5 stars.

The New World: The teenager Eva Molnar (Eszter Balint) arrives from Budapest, Hungary, and goes to the house of his cousin Willie, a.k.a. Bela Molnar (John Lurie) in a dangerous neighborhood in New York. Eva intends to travel to Cleveland to stay with her Aunt Lotte (Cecillia Stark), but the old woman is in the hospital and Eva has to stay with the idle Wille, who is absolutely indifferent to her. They spend their empty days smoking Chesterfield, watching television and playing solitaire and Eva befriends Willie's friend Eddie (Richard Edson). Then Willie and Eddie are connected to Eva and they miss her when she travels to Cleveland.

One Year Later: Willie and Eddie win a large amount in the poker game and they borrow a car and travel to Cleveland to visit Eva. They spend a couple of boring days in the house of Aunt Lotte.

Paradise: Willie and Eddie invite Eva to go on vacation in Florida. However they lose their money in the dog racing. Willie decides to bet their last money in the horse racing and they win money. Meanwhile Eva is wrongly taken by another woman and receives a large amount from a stranger. She leaves money for Willie and Eddie and goes to the airport expecting to travel to Europe, but there is only one flight to Budapest. Meanwhile Willie and Eddie seek her out in the airport. Will Willie find Eva?

"Stranger than Paradise" is an ironic and weird tale of emptiness and boredom by Jim Jarmusch, filmed in black and white and divided in three segments (acts). There are funny moments, like for example, when Willie has a phone conversation with his Aunt Lotte and tells that Eva will put his life on hold since the guy spends the days smoking, watching television, playing solitaire and gambling in the horse racing. Then he misses Eva, probably the only different thing that had happened in his boring and empty life. In the end, it is hilarious when Eddie asks to himself: What will Willie do in Budapest? "Stranger than Paradise" is not for every audience but those viewers that also enjoy cinema as art. My vote is eight.

Title (Brazil): "Estranhos no Paraíso" ("Stranger in the Paradise")