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Stranger Than Paradise

  • 1984
  • Tous publics
  • 1h 29min
NOTE IMDb
7,4/10
42 k
MA NOTE
Richard Edson, Eszter Balint, and John Lurie in Stranger Than Paradise (1984)
A New Yorker's life is thrown into a tailspin when his younger cousin surprise-visits him, starting a strange, unpredictable adventure.
Lire trailer2:43
2 Videos
99+ photos
Coming-of-AgeQuirky ComedyComedyDrama

La vie d'un New-Yorkais prends un mauvais tournant quand sa jeune cousine lui rend visite et que commence une étrange aventure imprévisible.La vie d'un New-Yorkais prends un mauvais tournant quand sa jeune cousine lui rend visite et que commence une étrange aventure imprévisible.La vie d'un New-Yorkais prends un mauvais tournant quand sa jeune cousine lui rend visite et que commence une étrange aventure imprévisible.

  • Réalisation
    • Jim Jarmusch
  • Scénario
    • Jim Jarmusch
    • John Lurie
  • Casting principal
    • John Lurie
    • Eszter Balint
    • Richard Edson
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,4/10
    42 k
    MA NOTE
    • Réalisation
      • Jim Jarmusch
    • Scénario
      • Jim Jarmusch
      • John Lurie
    • Casting principal
      • John Lurie
      • Eszter Balint
      • Richard Edson
    • 136avis d'utilisateurs
    • 60avis des critiques
    • 86Métascore
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 8 victoires et 2 nominations au total

    Vidéos2

    Official Trailer
    Trailer 2:43
    Official Trailer
    Bill Murray vs. Zombies? We're Dying for 'The Dead Don't Die'
    Clip 3:12
    Bill Murray vs. Zombies? We're Dying for 'The Dead Don't Die'
    Bill Murray vs. Zombies? We're Dying for 'The Dead Don't Die'
    Clip 3:12
    Bill Murray vs. Zombies? We're Dying for 'The Dead Don't Die'

    Photos102

    Voir l'affiche
    Voir l'affiche
    Voir l'affiche
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    + 96
    Voir l'affiche

    Rôles principaux13

    Modifier
    John Lurie
    John Lurie
    • Willie
    Eszter Balint
    Eszter Balint
    • Eva
    Richard Edson
    Richard Edson
    • Eddie
    Cecillia Stark
    • Aunt Lotte
    Danny Rosen
    • Billy
    Rammellzee
    • Man with Money
    Tom DiCillo
    Tom DiCillo
    • Airline Agent
    Richard Boes
    Richard Boes
    • Factory Worker
    Rockets Redglare
    Rockets Redglare
    • Poker Player
    Harvey Perr
    • Poker Player
    Brian J. Burchill
    Brian J. Burchill
    • Poker Player
    Sara Driver
    Sara Driver
    • Girl with Hat
    Paul Sloane
    • Motel Owner
    • Réalisation
      • Jim Jarmusch
    • Scénario
      • Jim Jarmusch
      • John Lurie
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs136

    7,442.2K
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    Avis à la une

    Pete-230

    Neat little formal exercise

    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.
    crichton

    The Emperor's New Clothes

    I honestly think this is a film that people are afraid to admit they don't find funny or like. I read reviews from critics blasting films for not having enough plot, for being boring, for being poorly written, poorly acted, etc. And here is a film with all these negative attributes, and it's considered a classic.

    I went to film school with Ms. Balint and wanted desperately to like this film, watching it as much as four times -- twice on tape and twice on A&E. I did not find all those attributes others had christened it with because frankly, they do not exist. Then I remember The Elephant Man, and the early critics using the title to savage it; "It moves at an elephant's pace", read one. Then everyone jumped on the bandwagon and never a bad word about the film again. I think this is the case for Stranger Than Paradise. The film presents the boredom and monotony of three lost people's lives, and it succeeds by itself being boring and monotonous.

    I also think viewers have to put more into this film to seek enjoyment, just as an art critic will look at a solid black canvas and see the life cycle of man's humanity and mortality. And the fact is, it's just a black canvas. That is what I think this movie is. I just happen to think that it caught the people at Cannes during an odd time where they found it amusing, and then from that time out, everyone was afraid to say anything negative about it for fear of being ridiculed for "not getting it." In my opinion -- and acknowledging everything regarding the arts is subjective -- this is an average, gimmicky (mastershots and blackouts) student film.

    I would rate this film 1/2 star, if that at all. Sorry to disagree with all you intellectuals out there. I enjoy a good classic film, domestic or foreign, but I do not like films that sportnon-existent writing, acting, or direction. To be snide, I've seen the Emperor, and that b*****d is buck-naked.
    thephaseshift

    A seductive character and mileu study

    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.
    8redherring

    I'm choking the alligator.

    Odd and inspiring. This film rings true with rich detail in its depictions of utter loneliness. Smoking many Chesterfields, watching television, playing solitaire, visiting Aunt Lottie, sightseeing at Lake Erie (for God's sake). It alters from tragic to comic from almost moment to moment, and often has a foot in both pools.

    Jarmusch is minimalist to the core with this one, and yet manages to pull off a solid story. A small black and white gem that deserves a larger audience.
    futures-1

    Beautiful uncomfortableness

    "Stranger than Paradise" (1984): Jim Jarmusch's first film. Often listed as a "comedy" – and yes, I suppose there ARE a few oddly funny moments – for the most part I find it an intensely bleak film, empty of almost all life but for a few lone cruiser characters who are detached from everyone else. The photography is astoundingly beautiful black & white. They are almost shot as individual stills with minor movements in them, and divided by blatant black divisions, which one can think of as the black pages of an old photo album. The velvety rich blacks, grays, and whites, plus the composed "still" scenes, cause me to think Jarmusch was trained as a static, 2-D artist first. Just a guess. This film is NOT about acting, which is limited at best, but doesn't really need much. We observe an alienated set of scenarios which are only enhanced by the stiff, awkward exchanges and pauses of the characters, and the lack of movement in the camera work. Ambient sound adds to the gritty reality of emptiness. Funny or not, this is a low-key, lost-souls story of detachment and aimlessness.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Director Jim Jarmusch was dismayed to discover all the money he paid for the rights to Screamin' Jay Hawkins' "I Put a Spell on You" went to the record company, with nothing going to Hawkins himself. When the film earned a profit, Jarmusch took it upon himself to track down Hawkins (who was living in a trailer park, at the time) and give him some money. It was the beginning of a friendship that lasted until Hawkins' death. According to Jarmusch, Hawkins continuously swore he'd pay him back, despite Jarmusch's insistence that the money was a gift.
    • Gaffes
      When Eddie and Willie are driving to Cleveland, the camera and camera operator can be seen in the reflection of the rear view mirror.
    • Citations

      Eddie: You know, it's funny... you come to someplace new, an'... and everything looks just the same.

      Willie: No kiddin', Eddie.

    • Connexions
      Edited from Stranger than Paradise (1983)
    • Bandes originales
      I Put a Spell on You
      Written by Screamin' Jay Hawkins (as Jay Hawkins)

      Used by permission of CBS Unart Catalog, Inc.

      All Rights Reserved.

      Performed by Screamin' Jay Hawkins

      Courtesy of CBS Records

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    FAQ

    • How long is Stranger Than Paradise?
      Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 9 janvier 1985 (France)
    • Pays d’origine
      • États-Unis
      • Allemagne de l'Ouest
    • Langues
      • Anglais
      • Hongrois
      • Italien
    • Aussi connu sous le nom de
      • Extraños en el paraíso
    • Lieux de tournage
      • 464 Newark St, Hoboken, New Jersey, États-Unis(Corner building when Eva first arrives and walks to apartment)
    • Sociétés de production
      • Cinesthesia Productions
      • Grokenberger Film Produktion
      • Zweites Deutsches Fernsehen (ZDF)
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 90 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 2 436 000 $US
    • Montant brut mondial
      • 2 454 393 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 29 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 1.85 : 1

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    Richard Edson, Eszter Balint, and John Lurie in Stranger Than Paradise (1984)
    Lacune principale
    By what name was Stranger Than Paradise (1984) officially released in India in English?
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