Permanent Vacation

This film which is, as far as I know, the first one by Jarmusch, when he still studied to become a film director, is original in its way to reinstall 'realism' – somebody would say 'surrealism' – into film art. He tries to make us understand a special psychological type of our time, a 'tourist in life' on 'permanent vacation'. People having decided to follow that life strategy don't engage themselves in anything or anyone. They just do what they 'feel like', not caring about what that means to others. Others are not really human. They are looked upon as a tourist might look upon an exotic and alien tribe.

However, they themselves also feel alienated and estranged, indeed. Why engage in anything? The home where I was born was bombed out 'by the Chinese', my mother is crazy, my father is dead, and there is no hope for the future.

Jarmusch is convincing in his description of this psychological type which might be typical of our time. It might be a descripton of himself. But that is not what makes the film original. It is rather the way he succeeds in making that description.

Already in this film he uses stationary cameras with horizontal, and sometimes vertical, views, and depicts the world, as exemplified by New York City, as ugly as it is to all of us, if we do not embellish it.

What Jarmusch has to tell might be banal to some but it is certainly something that exists and is quite difficult to make understandable to us. Exactly like the opinion of the main character. But I think he has been successful in mediating such an understanding to us who have chosen a different life strategy.

This movie might be a gift for some with sophisticated and unusual gusto. However it lacks many details that are important for making a movie a fully fledged oeuvre and make it easy for a wide range of viewers to appreciate. So I would better tell about it's merits.

1. Stunning, perplexing, pervasive, strange atmosphere. It's a very atmospheric movie.

2. The protagonist may be annoying but this is the way he is! This is such a kind of a person so you have an opportunity to grasp it.

3. Weird soundtrack helps you feel the atmosphere and dissolve the viewer's mind in the atmosphere of the film.

4. The settings (images) which is pretty rare to see elsewhere.

5. If you live fresh raw simplistic movies, this one is a good example.

6. Raw sounds make you feel inside the movie.

Let's not put too much lipstick on this pig. Permanent Vacation ... cool title, memorable lead, nice style and all that, but ultimately an often boring movie. The only thing that keeps this above the water is the simple fact that director Jim Jarmusch followed it up with some of the best movies of all time. So it's cool to see him blunder his way through his first oeuvre.

The fact that our hero Allie is disenfranchised because his mother is in a mental institution might constitute the oldest plot device in the book. There is really no development, no suspense, nothing intriguing. Jarmusch commits the classic mistake of every first-time filmmaker; he has yet to learn that it's not enough to put a crass character before the camera. You have to make the viewer care about him. And unfortunately you can't do that by boring the crap out of the viewer. Allie is a high-strung, messed-up kid who could franchise disenfranchisement if only he could be bothered. He has a girlfriend that should rightfully be mine, who gets a kick out of dating a pretentious freeloader with a croaky voice. He meets a bunch of strange people, nicks a car, then gets the feck out on a boat. Cue amazing end sequence shot on a boat going away from Manhattan but looking back at it.

Check it out if you're a spotty movie boffin with no social life.

Give it a miss if you're more into Hannah Montana.

Leave it to Jim Jarmusch to create haunting and elusive visual stories with static camera and sparse dialogue. 'Permanent Vacation' is no masterpiece and stands far from Jarmusch's greatest movies, but it clearly has the magic touch that makes the film live, and it doesn't feel boring.

Jim Jarmusch made the film right after he dropped out of film school, and it is clear that he already had his unique vision and way of telling stories. The story follows slacker Allie (Chris Parker) on his quest to find the meaning of life. The film is seemingly plotless, without proper beginning and ending, not to mention the conclusion, but it has nice flow that ties all the quirky characters and pretentious philosophical conversations into whole.

'Permanent Vacation' is very important to see if you are interested where Jim Jarmusch come from (and also Richard Linklater as 'Permanent Vacation' was major influence to his own 'Slacker').

My review was written in September 1982 after a screening at a Chelsea (Manhattan) theater.

"Permanent Vacation" is a visually arresting narrative of alienation, hailing from the New York underground school of indie filmmaking. Debuting director Jim Jarmusch evidences a keen eye for composition, but his inexperience with actors makes the film an entry for specialized audiences only.

Picture limns vignettes in the life of a restless youth, Aloysious Parker (Chris Parker) living in lower Manhattan. Through his encounters with his girlfriend (Leila Gastil), hospitalized mother (Ruth Bolton) and casual encounters with people on the oddly deserted streets of the city, we learn of Parker's dropping out from the mainstream of life and his increasing introversion. He ultimately turns his back on the unyielding Gotham homeland, setting sail (in a striking final shot of the receding Manhattan skyline) for Europe.

Structured like a road movie (but traveling on foot), "Vacation" shares the tics that have endeared so-called "new wave" films to devotees of the form but limited their general dissemination: posed, awkward acting and cold, aloof stagings. Jarmusch's use of deep focus and well-lit still-lifes in 16mm show evidence of an embryonic talent, but the interaction among his thesps rings false. Supporting cast ranges from outrageous mugging (Maria Duval) to throw-away stony readings (Leila Gasti).

Through it all lead Chris Parker, who collaborated closely with the director in fashioning the central role, resembles a little boy in a home movie pretending to be an adult. His hipster delivery and physical mannerisms are painfully self-conscious.

Certainly, Jarmusch wanted to impart the feelings of alienation and indifference his characters are feeling, but an audience needs more entry points to empathize with the screen personages. There are more than enough "who cares" narratives already being cranked out by established filmmakers.

Musical score, involving clock-like rhythmic chimes and haunting sax solos by John Lurie, is an asset.