Jarmusch, Jim

Dead Man

This disappointment from Jim Jarmusch stars Johnny Depp in a mystery-Western about a 19th-century accountant named William Blake, who spends nearly all his money getting to a hellish mud town in the old West and ends up penniless and doomstruck in the wilderness. A benevolent if goofy Native American (Gary Farmer) takes an interest in guiding Blake on a quest for identity in his earthly journey, but the film is really just a string of endless shtick about inbred woodsmen, dumb lawmen, and a trio of irritable killers. With Robert Mitchum, Iggy Pop, Gabriel Byrne, Alfred Molina, and a noodling soundtrack by Neil Young. --Tom Keogh

Johnny Depp (CHOCOLAT) delivers a remarkable performance in this highly acclaimed tale of adventure and intrigue in the wild, wild west! A young man in search of a fresh start, William Blake (Depp) embarks on an exciting journey to a new town ... never realizing the danger that lies ahead. But when a heated love triangle ends in double murder, Blake finds himself a wanted man, running scared -- until a mysterious loner teaches him to face the dangers that follow a "dead man." With an outstanding supporting cast including Gabriel Byrne (THE USUAL SUSPECTS) and Robert Mitchum (CAPE FEAR), and a sizzling soundtrack, DEAD MAN is another motion picture triumph from filmmaker Jim Jarmusch.

Ghost Dog - The Way of the Samurai

Forest Whitaker makes an unlikely modern samurai with his laser-sighted pistols, shabby street clothes, and oddly graceful gait--but then Ghost Dog: The Way of the Samurai is an unusual film. Quirky, contemplative, and at times absurd, it's just the kind offbeat vision we've come to expect from the fiercely independent Jim Jarmusch (Stranger than Paradise, Dead Man). Whitaker is Ghost Dog, a mysterious New York hit man who lives simply on a tenement rooftop and follows a code of behavior outlined in Hagakure: The Book of the Samurai (passages of this book are interspersed throughout the film). When the local mob marks him for death in a complicated code of Mafiosi-style honor, Ghost Dog sends a cryptic message to his foes. "That's poetry. The poetry of war," remarks mobster Henry Silva, with sudden respect upon reading the verse. He could be describing the ethereal beauty of Jarmusch's vision, full of wonderful imagery (a night drive across town seems to float in time) and off-center humor. Though it briefly stalls in a series of assassinations (Jarmusch is no action director), it settles back into character-driven drama in a quietly epic showdown, equal parts samurai adventure, spaghetti western, and existential crime movie. The film is likely too unconventional and offbeat for general audiences, but cult-movie buffs and Jarmusch fans will appreciate his idiosyncratic vision. He finds a strange sense of honor in the clash of Old World traditions, and salutes his heroes with a skewed but sincere respect. --Sean Axmaker

Coffee and Cigarettes

Now here is a movie that's practically perfect for DVD. Shot over many years with eccentric actors, Jim Jarmusch's collection of black-and-white vignettes is as uneven as a collection of music videos (without songs). Even with the dull spots and the drop-dead-hip ambiance, there's something touching about this parade of frazzled people holding on to their coffee and cigarettes like life rafts--especially in the final sequence with Taylor Mead. There are some severely misconceived pieces, but the best are a treat: Alfred Molina and Steve Coogan in a hilarious Hollywood encounter, Tom Waits and Iggy Pop getting off on the wrong foot in a funky diner, and Cate Blanchett doing a dual role as herself and a jealous cousin. Bill Murray can't save one underwritten piece, but Jack and Meg White are amusing in an absurdist blackout. Use the Scene Selection menu, and revel in the fetishizing of java and butts. --Robert Horton

Celebrated writer-director Jim Jarmusch (Mystery Train) serves up this witty and intoxicating brew that s as addictive as caffeine (Richard Roeper Ebert & Roeper and the Movies ) and as buzzy and ephemeral as well coffee and cigarettes (LA Weekly)! Sneakily delirious [and] way cool (Time) this funny cluster of eleven stories (Rolling Stone) delivers inspired eccentric match-ups (The Hollywood Reporter) from an incredible all-star cast making Coffee and Cigarettes an absolute must for fans of film fun and fantastic wit!Special Features:Theatrical Trailer Tabletops Bill Murray OuttakeTaylor Mead InterviewSystem Requirements: Running Time 97 MinFormat: DVD MOVIE Genre: COMEDY Rating: R UPC: 027616911711 Manufacturer No: 1007030

Down by Law - Criterion Collection

After creating one of the breakthrough movies of the American independent cinema, Stranger than Paradise, Jim Jarmusch stayed right in the same minimalist, oddball, black-and-white groove. Down by Law takes place in Louisiana, where two losers (musicians Tom Waits and John Lurie) find themselves stuck in a jail cell together. One day they are joined by a boisterous Italian (Roberto Benigni), and the chemistry changes--suddenly an escape attempt is on the horizon. Conventional drama is not Jarmusch's intention; one of the emotional high points of this movie is the three guys marching around their prison cell shouting, "I scream, you scream, we all scream for ice cream!" Yet the deadpan style creates its own humorous mood, underscored by melancholy (also underscored by the music of Lurie and the gravel-voiced songs of Waits). This was the first American film for Roberto Benigni, the Italian comedian (Life Is Beautiful), and he lights it up with his effervescent clowning. Jarmusch has said that Down by Law forms a loose trilogy with Stranger than Paradise and the subsequent Mystery Train, a triptych of disaffected, drifting life in the United States. Few filmmakers have ever surveyed ennui so entertainingly. --Robert Horton

Broken Flowers

Bill Murray (Lost in Translation) stars in the comedic story of an aging Don Juan who hits the road on a revealing and humorous cross-country journey. When a mysterious pink letter informs Don Johnston (Murray) that he may have a 19-year-old son he visits four former lovers where he comes face to face with the errors of his past and the possibilities of the future.From acclaimed director Jim Jarmusch and co-starring Sharon Stone Frances Conroy Jessica Lange Tilda Swinton and Jeffrey Wright Broken Flowers is the highly original comedy that Peter Travers of Rolling Stone says is "filled with wonderful mischief" and "brings out the best in Bill Murray."System Requirements:RUN TIME: 1 Hour 46 MinutesFormat: DVD MOVIE Genre: COMEDY Rating: R UPC: 025192847721 Manufacturer No: 28477

Bill Murray gives yet another simple, seemingly effortless, yet illuminating performance in Jim Jarmusch's Broken Flowers. Don Johnston (Murray, Lost in Translation, Rushmore) receives an anonymous letter telling him that he has a 19 year old son who's looking for him. Don only decides to investigate at the prompting of his neighbor Winston (the indispensable Jeffrey Wright, Shaft, Basquiat), who not only tracks down the current addresses of the possible mothers, he plans Don's entire trip down to the rental cars. Almost against his will, Don finds himself knocking at the doors of four very different women (Sharon Stone, The Quick and the Dead; Frances Conroy, Six Feet Under; Jessica Lange, Sweet Dreams; and Tilda Swinton, The Deep End) who were once his lovers. Part road movie, part detective story, part existential meditation, Broken Flowers is even more minimalist than most Jarmusch movies (Stranger Than Paradise, Dead Man, Mystery Train)--anyone looking for an easy resolution should look elsewhere. But for anyone willing to let a movie be a poem as much as a story--i.e., let it observe behavior without explaining it--Broken Flowers will offer a wealth of mysteries, gestures, and Bill Murray's soulful eyes. It's a movie that's wonderfully eloquent about what's not being said. --Bret Fetzer

Mystery Train

Elvis may not be alive, but his spirit continues to permeate the American cultural landscape. Jim Jarmusch pays tribute his legacy in his funky third feature, Mystery Train. The name comes from the great bluesy recording Elvis made for Sun Records in 1955, but the stories of wandering tourists and lost souls drifting through Memphis come from the mind of Jarmusch. Three different tales play out in a single 24-hour period, a loose trilogy spinning around a fleabag hotel manned by a sleepy Screamin' Jay Hawkins and his eager bellboy Cinqué Lee. A young Japanese couple arrives in Memphis to take the Elvis tour, an Italian woman (Nicoletta Braschi of Life Is Beautiful) takes possession of her dead husband's ashes and gets a surprise visit from a wandering spirit, and three Memphis lowlifes (including indie stalwart Steve Buscemi and Clash guitarist Joe Strummer) take an aimless and ultimately fateful midnight cruise around town. Jarmusch lazily unfolds his tales at the speed of life, the unhurried rhythms lending the deadpan mix of quirky Americana, pop culture, and cinematic poetry a quietly lived-in quality, while he juggles timelines in a trick Quentin Tarantino borrowed for Pulp Fiction. The offbeat interweaving is just another pattern to the crazy quilt, lovely examples of the mercurial playfulness of life in Jarmusch's America. --Sean Axmaker

After the critical triumphs of Stranger Than Paradise and Down by Law, director Jim Jarmusch was called 'the most arresting filmmaker to surface in the American cinema by The New York Times. Mystery Train is a 'smart and curiously affecting (The Nation) comedy, that is funny and thoroughly satisfying (The New York Times)! Named after an Elvis Presleyhit, Mystery Train interweaves three engrossing stories, all centering around the Presley legend and his beloved hometown of Memphis. As the characters paths collidethrough laughter, fear and fateyou can practically feel the presence of the King himself in every scene and his legacy impressed on a generation of equally lost souls in 'this wry, brilliantly structured comedy (Boxoffice).

Night on Earth - Criterion Collection

Five cities. Five taxicabs. A multitude of strangers in the night. Jim Jarmusch assembled an extraordinary international cast of actors (including Gena Rowlands Winona Ryder Armin Mueller-Stahl Beatrice Dalle and Roberto Benigni) for this hilarious quintet of tales of urban displacement and existential angst spanning time zones continents and languages. Jarmusch's lovingly askew view of humanity from the passenger seat makes for one his most charming and beloved films.System Requirements:Running Time: 128 Mins.Format: DVD MOVIE Genre: COMEDY Rating: R UPC: 715515025423 Manufacturer No: CC1711DDVD

Jim Jarmusch's 1991 ensemble comedy turns a gimmick into a revelation. The story begins in Los Angeles one evening at 7:07 p.m. A talent agent (Gena Rowlands) gets into the back of a taxi driven by a sullen, chain-smoking young woman (Winona Ryder), and over the course of their bumpy conversation, Rowlands's character becomes convinced that the cabby would be perfect for a particular part in a movie. Meanwhile, at that very moment, taxi drivers in New York, Paris, Rome, and Helsinki are all having unique encounters with a variety of fares, breaking through that invisible social barrier between the front and back seats of their cars, often to absurd or touching effect. Among them are cabby Roberto Benigni's ranting confessions to a priest, Armin Mueller-Stahl's relinquishing of the wheel to a stunned Giancarlo Esposito, and Isaach De Bankolé's relentless discussion of sight and sex with an angry, blind woman (Beatrice Dalle). What emerges is a chain of brief intimacies (not always welcomed by the characters), like a number of matches lit simultaneously across the globe, flickering brightly for a few short moments. This popular work by Jarmusch helped confirm his reputation as a fiercely independent filmmaker of rare perception, rigor, and classical sensibility matched with original thinking. --Tom Keogh

Stranger Than Paradise - Criterion Collection

Back in the excess-is-best 1980s, the pared-down minimalism of 1984's Stranger than Paradise played like the product of another time--or even another planet. It was so "off," i.e. offbeat and off-kilter, it was (right) on. Now seen as a classic of American independent cinema, it compares favorably to other monochromatic first features, like Border Radio and Mala Noche (also lovingly restored by the movie mavens at the Criterion Collection). The acclaim was justified--except it wasn't Jarmusch's first film. That honor belongs to 1980's Permanent Vacation, making its long-awaited digital debut on this two-disc set. Shot by Tom DiCillo, Jarmusch's initial offering revolves around the name Parker: Chris Parker is Aloysious Parker, a ducktailed New Yorker with a jones for Charlie Parker. Allie's a drifter and a dime-store philosopher. "That's how thing work for me," he drawls in voice-over, "I go from this place, this person, to that place or person." And so he does. Fresh from NYU, where he assisted Nicholas Ray, Jarmusch displays an innate talent for framing and dialogue (Allie lives for "vibrating, bugged-out sound"). His touch with actors--Frankie Faison's raconteur aside--is less assured, but he learned quickly. Lounge Lizard John Lurie cameos as a sax player. DiCillo returns for Stranger than Paradise, in which he and Jarmusch trade color for black and white stock (donated by Wim Wenders). In this "semi-neorealist black comedy," as the filmmaker puts it in the production notes (included with this set), Hungarian teenager Eva (Eszter Balint) arrives in New York ("The New World") to stay with her cousin, Willie (Lurie). A drifter, like Allie, she continues on to Cleveland ("One Year Later") and Florida ("Paradise"). With nothing better to do, Willie and Eddie (Richard Edson) tag along. As opposed to the rapid-fire cutting of the day, Jarmusch uses static shots divided by black screen. He may have taken cues from Ozu and The Honeymooners--dig those porkpie hats--but the end product couldn't be more idiosyncratic.

This director-approved double-feature comes complete with a German TV documentary (Kino '84: Jim Jarmusch), behind-the-scenes footage, US and Japanese trailers, and a 44-page booklet with essays by J. Hoberman and Luc Sante. Just as Stranger than Paradise stands as one of the defining films of the 1980s, this special edition represents one of the most essential DVD releases of the 2000s. --Kathleen C. Fennessy

Rootless Hungarian emigre Willie (John Lurie) his pal Eddie (Richard Edson) and visiting sixteen-year-old cousin Eva (Eszter Balint) always manage to make the least of any situation whether aimlessly traversing the drab interiors and environs of New York City Cleveland or an anonymous Florida suburb. With its delicate humor and dramatic nonchalance Jim Jarmusch's one-of-a-kind minimalist masterpiece Stranger Than Paradise forever transformed the landscape of American independent cinema. Also included in this special-edition release is Jarmusch's legendary debut feature Permanent Vacation a time capsule of late-seventies Manhattan on DVD for the first time in the United StatesSystem Requirements:Running Time: 89 Mins.Format: DVD MOVIE Genre: COMEDY Rating: R UPC: 715515024020 Manufacturer No: CC1695DDVD

Stranger Than Paradise

Back in the excess-is-best 1980s, the pared-down minimalism of 1984's Stranger than Paradise played like the product of another time--or even another planet. It was so "off," i.e. offbeat and off-kilter, it was (right) on. Now seen as a classic of American independent cinema, it compares favorably to other monochromatic first features, like Border Radio and Mala Noche (also lovingly restored by the movie mavens at the Criterion Collection). The acclaim was justified--except it wasn't Jarmusch's first film. That honor belongs to 1980's Permanent Vacation, making its long-awaited digital debut on this two-disc set. Shot by Tom DiCillo, Jarmusch's initial offering revolves around the name Parker: Chris Parker is Aloysious Parker, a ducktailed New Yorker with a jones for Charlie Parker. Allie's a drifter and a dime-store philosopher. "That's how thing work for me," he drawls in voice-over, "I go from this place, this person, to that place or person." And so he does. Fresh from NYU, where he assisted Nicholas Ray, Jarmusch displays an innate talent for framing and dialogue (Allie lives for "vibrating, bugged-out sound"). His touch with actors--Frankie Faison's raconteur aside--is less assured, but he learned quickly. Lounge Lizard John Lurie cameos as a sax player. DiCillo returns for Stranger than Paradise, in which he and Jarmusch trade color for black and white stock (donated by Wim Wenders). In this "semi-neorealist black comedy," as the filmmaker puts it in the production notes (included with this set), Hungarian teenager Eva (Eszter Balint) arrives in New York ("The New World") to stay with her cousin, Willie (Lurie). A drifter, like Allie, she continues on to Cleveland ("One Year Later") and Florida ("Paradise"). With nothing better to do, Willie and Eddie (Richard Edson) tag along. As opposed to the rapid-fire cutting of the day, Jarmusch uses static shots divided by black screen. He may have taken cues from Ozu and The Honeymooners--dig those porkpie hats--but the end product couldn't be more idiosyncratic.

This director-approved double-feature comes complete with a German TV documentary (Kino '84: Jim Jarmusch), behind-the-scenes footage, US and Japanese trailers, and a 44-page booklet with essays by J. Hoberman and Luc Sante. Just as Stranger than Paradise stands as one of the defining films of the 1980s, this special edition represents one of the most essential DVD releases of the 2000s. --Kathleen C. Fennessy

Neil Young & Crazy Horse Live: Year of the Horse

Jim Jarmusch's low-tech tribute to the 30-year-old collaboration between grunge godfather Neil Young and his favorite garage band, Crazy Horse, is both a quirky little movie and a monument to one of rock & roll's greatest noisemakers. Partially culled from some gritty archival material shot in 1976 and 1986, and supplemented by lots of super-8 footage of Young and Crazy Horse between shows while on a concert tour (the concert footage itself appears to be shot on 16mm), Year of the Horse is very much like one of the band's paradoxical performances: epic but transitory, ragged but direct, focused but improvisational. Jarmusch understands Crazy Horse and its quixotic musical quest too well to embalm them in a conventional profile-and-performance "rockumentary." Instead, he honors the off-and-on marriage of Young and the others by treating the various chapters of their lives together as shadows in time, fleeting glimpses of a brotherhood that has no secrets.

Jarmusch devotes some time to the ghosts in this film--Danny Whitten, Crazy Horse's original guitarist, and the band's late manager--then disperses them with eerie, soundless footage of black-and-white shapes that flutter off into their own void. It's the same poetic dance of light and shadow that caught Jarmusch's fancy in Stranger Than Paradise and Dead Man, but here--as with Neil Young and Crazy Horse at their musical best--it is pure in its essence, nonliteral, pouring in from some fount of raw discovery and inspiration. Exciting stuff, as are performances of band workhorses such as "Sedan Delivery" and the gorgeous "Like a Hurricane." --Tom Keogh

Brazilian All Code/NTSC DVD. 1997 film directed by Jim Jarmusch. 140 minutes. Special features include, biography, photo gallery, & discography. Dolby Digital 2.0 & 5.1. Spot Films.