Stranger Than Paradise

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.

I just finished watching Stranger Than Paradise on DVD - the first time I'd seen it since its year of release. I'd always recalled the film with fondness, although I could never remember why I liked it. Several years after seeing the movie I came across the John Lurie soundtrack and bought it without stopping to listen, and been slightly taken aback by it. The haunting pieces were more emotionally esoteric than I expected, and it took some time for the album to grow on me.

Seeing the movie again, I understand why. The only piece of popular music in the film is Screamin' Jay Hawkin's "I Put a Spell on You" and, although I had forgotten that it was there, I guess that I had expected the soundtrack to be more like those of mainstream movies and have songs and such-like. I think that Lurie's music is perfect in situ and, as I've said, the soundtrack has also grown on me as standalone pieces.

The movie itself is a masterpiece. The black and white images present a starkness and a clarity that heightens the alienation of self in a land that was supposed to be the new hope for immigrants from a decaying old world. Instead we see Eva walking through a deserted ghost world of New York where the graffiti says "Yankee go home". America is only a dream, a collective vision of a better world; paradise somewhere on earth.

As Willie and Eddie journey west after winning some money, we see that the supposedly beautiful city of Cleveland is cold and desolate with a frozen lake. The further trip to Florida ends in the middle of nowhere next to a bleak and windswept ocean. Paradise is still somewhere out of reach. I think that's why the movie appeals to me. It shows that the America of popular mythology - the home of the brave, land of the free, protector of the downtrodden, guardian of democracy in the free world - is merely a construct. Too many people these days believe in the child's fantasy of America being some paradise that Iraq and Afghanistan should emulate. Jarmusch reminds us that it is people who give meaning to a symbol, not the other way around. He allows for the ability of people to make their own meanings and evolve beyond the stagnation of popular culture.

At a time I originally saw this movie I had recently left home and got my first job, moving from the country to the city, and maybe to some extent I identified with Eva - moving from Budapest to America. It was also my first taste of grownup film, if I recall correctly, and confirmed me with a lifelong fascination with the cinema. I have a lot to thank Jim Jarmusch for.

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")

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.

Life is strikingly uneventful for Willie, played by renaissance man John Lurie, who refers to himself as a hipster and lives in New York City, and his interactions with his Hungarian cousin Eva, played by avant-garde actress-musician Eszter Balint, and his best friend Eddie, played by yet another actor-musician Richard Edson, who dresses exactly like Willie. Indeed, both males are swarthy with hook noses and fedoras. They have such little interest in or knowledge of anything that their eventual vacation is no different from home.

The quirky way to three-act story format is a succession of single-shot scenes punctuated by black leader, and the clear-cut partition of the story into three straightforward, facetiously named episodes. Yet there are other ceremonial characteristics of substance: Tom DiCillo's black-and-white camera work, which provides Jarmusch's acute impression for the American panorama; and the arresting appliance of music, which favorably apposes Screamin' Jay Hawkins's I Put a Spell on You with the folksy tinges of John Lurie's score for string quartet. This is definitely a road movie, but one with a distinction: Different from most instances of the then still immensely fashionable genre, Stranger Than Paradise appeared simultaneously comprehensively American and strangely European.

The oddly enlightening aggregate of involvement and reserve may be found in the film's lovingly absurd view of Willie's chic affectations, its quaint posture toward some of the inanities of American culture and in the way it harmonizes a decidedly American genre and decidedly American plot---if a narrative as gravely sparse and as concentrated on dead moments may be dubbed a plot---with all form of un-Hollywood expression. The look, rhythm, cast and mainly dismal feel bring to mind not The Blues Brothers, or even the rather subdued Last Detail, but the beginnings of the degree of minimalism to which Jarmusch would take his later work.

However he also loves various attributes of popular culture. See how Willie and Eva watch Forbidden Planet on TV or go with Eddie and Eva's discouraged fancier to see a bone-crunching Hong Kong martial-arts flick at a Cleveland grindhouse, and lets them neighbor more virtuous aspects of his films, in such a way that there is no discrepancy between high and low. And it's for that scarce but wholly judicious mindset that Jarmusch is to be particularly noted. It's doable to distinguish his connection with a gamut of later American indie directors, specifically in his desert drollery, his passionately entertained captivation with slackers of sundry kinds, his concern with sequential framework, his affinity for severely subdued stories, and his clever, antiquated references to popular culture. All these, at a time scarce in American cinema, are now pretty ubiquitous. But the rhyme, the unabashed regard for cinema as a quality, production, expression, a realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance, even the mundanities of life and the most everyday scenery possible, that can confront crucial, important matters is far more difficult to come across.

Considering, in the end, no matter how amusing, stylized, minute or insignificant his films may strike one at first, they are always about something. For all his cinephilia, they're inspired not, like Tarantino and Rodriguez, by other movies, but by life: by real people, encountering real feelings. And while this black-and-white deadpan pop culture satire may be a comedy, an dissection of cinematic storytelling, and a thoroughly cynical yarn, it's also a film about America and the people who live there. It's about those people's connections to each other, and their connections to the rooms they populate, the city streets, the suburbs, diners and highways. And it's made by someone who knows there may be reality in abstraction, who finds a visceral alliteration separating a snow-coated Lake Erie and a barren Florida beach, and who fashions an implausibly true character like Aunt Lotte, always jabbering to her tender company in Hungarian, whether they're listening or not.