Down By Law

Please note the purpose of this blog is to discuss established classics that I've never seen. As such, the following is laden with spoilers.

Why So Long?
I seem to be operating with a bit of blind spot when it comes to the works of Jim Jarmusch. I went to see Coffee and Cigarettes in the cinema and, looking back I can see that it caught me off guard. As a filmmaker Jarmusch is unique and he, rightfully, does very little to sell you on his style. You either dig it, or you don't but if you're unfamiliar with it, as I was, I feel you probably don't have a chance your first time round. I've since seen and enjoyed the likes of Broken Flowers and The Dead Don't Die and thought it was the right time to get more familiar with his classics.


And? 
Just at the top of this entry, there's something I need to address about this film. It perfectly captures the romanticised image the world (read: me and my ilk) have of the city of New Orleans. Speaking as someone who has been, I can confirm first hand that the city no longer lives up to this image, now its more like Blackpool with greater humidity. But it truly was a treat to see the streets of the French Quarter as shot by Robby Muller (probably best known this side of the Atlantic for 24 Hour Party People). Throughout the whole opening third of the film, I swear I could hear the bourbon in my liquor cabinet singing to me.

Aside from being a love letter to the south, the film is incredibly charming and funny. Its not overly complex, the three characters are set-up to bounce off each other in a fairly-predictable manner but then, who said there was anything wrong with simplicity? The smooth easy charm of Tom Waits, bounces off the bottled menace of John Lurie and they're all held together by the buffoonery of Benigini. Its not impossible to imagine this is the kind of thing the Marx Brothers would have been knocking out if they'd managed to live until the 1980s.

And now I have falled in love, at last. I have finded my new home. She has asked to me if I stay here, to live together with her forever and ever. Like in a book for children.

Its also odd, looking on it from the vantage point of 2020 how charming a presence Benigini can be when controlled correctly. Perhaps in Italy he's just too big a name to keep under reigns but its incredible to see the star of Life Is Beautiful turn in a performance of such nuance. His character also works well here as a conduit for the first-timer, for anyone unfamiliar with the stretching silences and easy-going pace of a Jarmusch film - here comes Benigini to break up the awkward silence. Like us, an alien in a strange land, just hoping everyone gets along.

And that, ultimately is what it will come down to. If you're happy with a film to carry-on slowly, albeit with purpose. If you're happy to see on screen dialogue interrupted with silences, breaks and pauses (think the oppositie of Tarantino) then you'll love the films of Jim Jarmusch and, this film especially. You also get to see Tom Waits playing one of the two roles you've always wanted to see Tom Waits play on the big screen, himself. The other is of course, the devil and thanks to Terry Gilliam we got to see him play that role as well.


Will You be Watching it Again?
Certainly won't be avoiding it but I am more likely to try out a few of his other hits before coming back.


Has Any Light Been Shone on Some Heretofore Unknown Bit of Pop Culture?
No, but it is nice to have such a brilliant snapshot of New Orleans pre-Reagan's America and pre-Katrina. Its undoubtedly over-romanticised but sure, there's no harm in a bit of that as long we know its false.