The Limits of Control

I guess for Jim Jarmusch, the shot, not the characters or the narrative is the building block and center of the film. Each shot is almost a minor Magritte painting with some detail incongruous enough to make us chuckle or wonder WTF. Why does the lead character order two cups of espresso? Why does the character wear those too tight shiny suits? What is the meaning of the constant exchanging of match boxes? This movie could be called "Match boxes and coffee" instead of "Cigarettes and Coffee," an even slower movie Jarmusch. The narrative is without excitement or tension. For a brief moment I had hoped that Jarmusch would pick up the pace when the hero saw the armed camp/complex. I thought the hero would race down and shoot ten or twenty men and jump out of the way of army jeeps and bound over walls to get inside. Nope, not this movie. Jarmusch just has the character appear inside the complex in the next scene and mysteriously hint at the way he got in. The movie does pick up in about five or six scenes with Paz De La Huerta. She is just called Nude and she appears in a series of what seems like nude poses. It is quite erotic and does make the first half of the picture move entertaining. There is also a nice dialogue scene about Orson Welles "Lady from Shanghai." These are the highlights of the film for me ten minutes watching Paz De La Huerta act without clothes, a discussion of "Lady from Shanghai" and those too tight shiny suits. Amusing, but too laid back.

Someone needs to tell Jarmusch and like-minded directors and writers that monotone conversations about the nature/meaning/origin of so-and-so are to art films what sweaty men walking away from explosions in slow motion are to big-budget post-Bruckheimer action flicks. For all of Jarmusch's talk in his interview with Gavin Smith in Film Comment about avoiding clichés he seemed to fall into that trap pretty easily. Much of the dialogue in the film is really quite horrible, shallow, miserable artsy nonsense. Then you have some conversations, particularly in the latter half of the film, which are absolutely wonderful. You also have to look at the fact that the 'horrible' dialogue in the previous conversations ultimately worked as they were necessary for the thematic aspects of the film to make sense in the beautifully confusing way they do. Glad to say I was wrong about Jarmusch being the emperor's new clothes and that "The Limits of Control" is a spectacular aesthetic achievement thanks to both Jarmusch and DP Chris Doyle's work. It's absolutely wonderful overall, leading up to an absolutely fantastic final thirty minutes. It has its flaws and certainly could've done without people approaching and leaving in slow motion which just seemed really cheesy but overall this is just a top-notch film, and the comparisons made to Rivette films like "Pont du nord", "Paris nous appartient", and "Out 1" in the aforementioned Film Comment interview by Gavin Smith and Jarmusch himself not only make sense, but are well-deserved. A cinematic enigma, and nothing is more attractive to me than that.

The "storyline": Nothing much happens at all. A man in Madrid orders an espresso, takes a train, walks in and out of a spanish museum in madrid, walks around town in madrid. No drama, no humor, just a man wandering about in Madrid getting secretive messages from strange secretive people

Despite the failure to create drama, humor or suspense this movie still kept me curious about it's ending. I did enjoy it, but in the same way as I would enjoy watching landscapes pass by in the train. Soothing, mellow, calm. But for those who expect a story with some drama, my advice is to walk away. Only suited for die hard Jim Jarmusch fans. This is definitely NOT a typical gangster movie, although some might (wrongly) perceive it to be, having watched the trailer.

I really adore (some of) Jim Jarmusch' work. But I do get bored by some of his movies as well. Jarmusch has a great knack for telling stories about people, who just wander about. Really. That's all they usually do in his movies. All of his movies are about people wandering around searching for something, waiting for something, escaping from something. Walking, waiting, wandering around. He has perfected these "wandering" storylines. He always slows his movies down to a level which is very uncommon and sometimes bordering on boring. The latter unfortunately is the case with "No limits No controls". It is basically a rather boring movie only interesting for die hard Jim Jarmusch fans, like myself . It is suited for those who love to relate to 100 year old paintings or movies no one has ever heard of beside an incrowd of movie geeks.

Soundtracks in Jarmusch'movies are always eccentric. The music by "Boris" is impressive, edgy and heavy, but I felt it wasnt suited for the mood of this picture. The photography was lacking in originality, although some shots were very gorgeous, because of the beauty of Madrid. BUT the photography was almost entirely consisting of still shots, which were mostly not very impressive. Director Wes Anderson has perfected this still photography in his movies, many others have tried to copy it, but failed at it. So did the photographer in "No limits No control".

Acting is great though. Great leading actor, which I had never heard of before. What a powerful face. He indeed doenst have to say anything, which he doesnt. Almost a silent movie, little to none dialogue. But it works. It creates some kind of mystery. Another trade mark of Jim Jarmusch. And there is also a great supporting cast although they only appear very short: Bill Murray (3minutes), John Hurt (5minutes), Abbass (5 minutes), Tilda Swinton (only 15 seconds), being pushed inside a car...

Trivia endnote: The end credits mention "Quantum respect and broken flowers to Bart Walker". This Bart Walker fellow is one of the most thanked characters in movie history, because the man has a staggering 30 special thanks credits to his name at Imdb. He must be some sort of mysterious muse for Jim Jarmusch and other directors, because many great directors have thanked this Bart Walker guy many times over the last decades.

Why Jim Jarmush? Why? Why did you of all directors have to produce such a dud? Why couldn't you have passed on that burden to a director without your prowess or your imagination? I thought we had a good thing going here. You make awesome movies and I watch them. It's a virtually flawless system. But no. You had to go and make The Limits of Control, a painfully pointless and stagnant film with no plot, no purpose, and no emotion. It follows a lone man as he searches for... something. There's no telling what, as the film has no backstory. It really has no story for that matter. This nameless man travels Europe, meeting various people and having vague conversations about nothing with them, only to receive a matchbox with a piece of paper in it at the end of every conversation. The man then proceeds to eat the paper. Any synopsis I could write about this film will make no sense and, unfortunately, seeing the film won't clear anything up.

This is such an utterly pointless film. It is incredibly experimental to a Lynchian degree, but Lynch always wraps up his films with a point. His films have a sense of purpose and meaning, and they get somewhere. The Limits of Control does not. We begin and end the film equally confused as to what is going on at all. The film does have a intriguing auteur look to it, accompanied by a great soundtrack and overall eerie pacing. But these nice things can only care a plot less story so far. The visual quality of the film begins as something compelling to look at and to absorb, but slowly becomes a very boring excuse for art film style visuals.

I think what really irks me about this film is just how serious it takes itself, and how profound it thinks it is. The film is incredibly pretentious and every conversation and every long, drawn-out, pointless scene is more self-indulgent that the previous. The film wants you to believe that there is some greater meaning to what it is all saying, but it's all just the ramblings of a pretentious goof. This is a film that insults our intelligence, as it isn't difficult to see past the faux profundities to the self-important nonsense that this film really is.

And what's even worse is how much the film tries to lead you on. It is alright to begin a film with no real backstory, throwing us right in the middle of the action. The Ancient Greeks invented the idea in the first place calling it in medias res, so I have no opposition to that. What I'm not okay with is films that just go in circles, never resolving anything and never filling us in on necessary backstory, or helping us out with the story at all for that matter. This isn't a thinking film in which we have to decipher the clues we are given by the characters and the story. There are no clues and this is a completely braindead film that thinks it has a brain that is smarter than all of us. Well, it's wrong. It's not intelligent, just pretentious.

I think the one place I can find solace in my despair over how bad this film was is that it doesn't give the impression that Jim Jarmush has forgotten how to make movies. That is a thought I reserve for films that are just bad in every way. The Limits of Control is Jarmush trying something different and new, but just failing miserably. It's really no more than a failed experiment, and I hope Jarmush realizes this. I hope he doesn't feel like he succeeded in making The Limits of Control a progressive and compelling film that transcends all cinematic boundaries. I hope that he has enough sense to realize he dropped a stinking pretentious mess on us and that he will have to clean it up if he wants to gain back some respect.

This is a tough picture to review, although I can really only come to one conclusion: you have to watch it for yourself. Jim Jarmusch based it on the idea of making an "action movie without action", and I think that's pretty accurate. The film follows a mysterious man around Spain, where he meets with even more mysterious contacts and exchanges secret messages. Clearly he is on a mission, a dangerous and illegal one. But what is his job? Who does he work for? These questions will keep you on the edge of your seat. All the ingredients of a frantic crime thriller are there, yet the film keeps a slow pace. What exactly is going on here?

Never has it been so thrilling, beautiful, and entertaining to watch a man walk around. The audience never knows what to expect, everything could be significant. In contrast, the mysterious man never hesitates, everything he does is carefully planned and executed, according to plan. Clearly, someone is pulling the strings. Someone, somewhere, is "in control". The camera, however, focuses on this man, one cogwheel in a large machinery. You're always aware that you only see part of the picture, that everything would make sense if you could just zoom out and know a little more.

"The Limits of Control" plays with a lot of established film clichés, and it teases you with your expectations. You are familiar with the form Hollywood movies have converged to over the past decades, how they are put together and what they have in common. Mainstream productions carefully avoid surprising their audience because after all, some of them could be disappointed or irritated. You think you know what you're up against, because you've seen it before. But "The Limits of Control" will fool you. It does not care about conventions, it tells the story it wants to.

However, this means that the film actually expects you to have been spoiled by the countless movies you've seen. It helps to know a few things about film genres and eras, but it is downright essential to have seen a number of common spy movies, action flicks, mystery thrillers. If you're not familiar with the narrative conventions used in movies, you will most likely not get the point. This made me wonder whether it is acceptable to recommend a movie if it cannot be thoroughly enjoyed without having that kind of film experience beforehand. But in the end, movies are always about one thing: whether you will have a good time watching it. And I think it must have been years since I last left a theater so delighted.

The thing is that this wouldn't be the movie you show your friend who is only just starting to develop an interest in films. For those who have been devouring movies for some time, who know a thing or two about their strengths and weaknesses, and the way they tell stories, this film is an incredible piece of art. In any case, it does however require an open mind because it might initially be hard to "keep up" with the slowness of the movie. But if you can cope with anything more sophisticated than a Michael Bay movie, you should do fine. Just don't expect to have the story and all the explanations shoved down your throat. Half of the movie takes place in your head, because you are trying to make sense of what is happening.

In more technical aspects, De Bankolé gives a breathtaking performance. At first it might not seem like he's doing much, but then you realize how perfectly every move, every look, every word, spoken or unspoken, fits the scene. The film's mystery is built on his presence, and it must have been a terrible pressure to carry so much responsibility for the atmosphere of the movie. The result is a lead character that is several times cooler than any babbling wiseacre (à la Pulp Fiction) could ever be. I was also amazed by the appearances of Tilda Swinton and John Hurt. Not only their characters, but also their lines which are symbolic for the level this movie works on.

You know how movie reviewers sometimes have to look for that perfect moment for a screen capture? A frame that is beautiful to look at and, without any motion or dialog, is able to give readers an idea of the movie's style? It must be a hell of a task for this film, because you could take such a frame from almost any of the scenes. It is in this consistently high quality, in any area, that the experience of Jarmusch as a filmmaker really shows. Every moment, every scene is carefully set up, perfectly composed and just beautiful to look at, like a picture in itself. Every word spoken is deeply meaningful, almost every sentence is a one-line word of wisdom or food for thought. Sounds are carefully used, as are the minimal musical snippets. Often, there is just a very poignant silence.

I suppose that if you are trying to decide whether you are going to watch this movie, having heard what people say about it, you wonder whether you will be disappointed in the end, whether it will just be a succession of pointless scenes. This was also my concern, but I promise that you won't feel cheated in the end. I don't care for posh movies that try to be as "artsy" as possible just for the heck of it; "The Limits of Control" is genuinely entertaining, and it is as much a part of traditional cinema as it is a reflection upon it. It is a minimal thriller, a mystery feature in the true sense of the word. You will think, you will theorize, and you will simply enjoy taking in the sights and sounds. The dream-like feel, the questions, the thoughts will accompany you for a long time after you have left the theater.