Mystery Train

Mystery Train is a moody and atmospheric gem surrounding a flea-bag Memphis hotel. Great performances are dished out (Screamin' Jay Hawkins and Cinque Lee are hilarious in an argument over exotic fruits from foreign lands) all around, but I favor the dynamic duo of Youki Kudoh and Masatoshi Nagase. Their characters are "far from Yokohama," but love will find its way to Tennessee. The lighting of a cigarette, an impressive t-shirt collection, an argument over the merits of Carl Perkins versus The King, the smearing of some crimson lipstick, and an exhilarating invitation to bed -- the minutiae of a special bond beyond mere chemistry. The combination of Nagase's dour, glowering sourpuss and Kudoh's charming, enthusiastic pixie makes for a volcanic cocktail.

Jarmusch does a masterful job weaving three stories, portraying simultaneity of action, building a mood and creating believable characters. All the things that Tarrentino would later get credit for in Pulp Fiction are done here and better.

The stories move at less than break-neck pace, so if you need action all the time this is not your film. But a belief in the reality of the world, and a compassion for the characters is wonderfully realized.

Because each of the three stories has it's on rhythm, conflict and characters, some will be drawn more to one part of the trilogy than another. The wonder of this, the mastery shown, is when contrasted with other, lesser writers who attempt this but have three stories all with the same tone - for example in Sin City where everyone acts the same.

I loved Mystery Train (as I had Down by Law). Bapu says check it out.

jim jarmusch affects his viewers in curious ways. in mystery train, he presents a series of situations, sometimes filled with off-beat humor, sometimes filled with tenderness, and, in one instance, characterized by one violent moment. on the whole, every moment is affecting, every moment is moving. jarmusch sees the world with such sensitivity and humor, such affection; there is no place for cynics or satirists. jarmusch has never emphasized technical virtuosity. his virtuosity, rather, is his ability to place characters who he obviously cares for in situations which endear them to the audience, his ability to show, with simple gestures and moments (like mitzuko's unorthodox cigarette lighting technique) our beauty, humanity's beauty, is our idiosyncracy and differences. steven soderbergh states that technical perfection is not as important as cinematic energy. jarmusch films have energy; it quiet, polite, lovely energy, but energy nonetheless.

What a terrific film for us foreigners. The USA condensed into one bottle. Elvis, Screaming Jay Hawkins, a seedy hotel, an endless steamy night, the desolation, the Guide at the Sun Studios, the Japanese tourists: I don't want to say any more

The great medieval philosopher Duns Scotus said that whatever leaves a mark remains present in its trace, and by studying the trace, we may study the thing itself. There are traces of Rock'n'Roll everywhere in Memphis, Tennessee, and Jim Jarmusch digs them up for us to see and hear. The plot of "Mystery Train" itself has some semblance of a song. Money is spent, hearts are broken, a gunshot rings, the jukebox plays. When everybody else is playing it cool, Steve Buscemi is the soul of the story as Charlie the Barber, a coward with a heart of gold. For the first time in a long string of enigmatic guest appearances, Tom Waits provides voice-over as a late night radio DJ. "Mystery Train" is also a work of critical feminism. From the very beginning, the girls make all the calls: cheerful Mitsuko, no-nonsense Luisa, chatterbox Dee-Dee. As the King himself once observed, they are devils in disguise.