Down by Law - Sous le coup de la loi

A prison film without an overt sense of morality? That comes as no surprise from Jim Jarmusch. One of the pioneers of independent filmmaking in the 1980s, Jarmusch cares little for plot or crafting a message for his audience and much more about drawing up scenarios for his characters that reveal nuances of the human condition.

"Down by Law" features three men in New Orleans who are guilty of their crimes though wrongfully imprisoned. Zack (Tom Waits) is a radio DJ who — after being thrown out by his girlfriend — agrees to a shady odd job driving a car that sets him up to take a fall. Jack (John Lurie) is a local pimp who ends up the victim of a sting operation. Both men feel unfairly hit just for letting their guard down. In prison they meet Bob (Roberto Benigni), an optimistic and overly friendly Italian immigrant with a similar story. The three men connect within confinement, but that bond is tested in new ways after they escape.

Aside from Zack and Jack's arrests, Jarmusch takes his laid back approach to most of the events in the film, choosing to show only the aftereffects of the major plot points that most filmmakers would want to depict on screen. He did the same thing in "Stranger Than Paradise" a couple years earlier, wanting to focus his film on how the characters respond to swings of fortune. The prison break, for example, is not explained. We only see the before followed by a cut to the three prisoners on the run.

Zack, Jack and Bob make for an interesting trio, particularly Bob. Benigni brings impeccable spirit and joviality to break up the somewhat slogging animosity between carefree cool guy Zack (Waits is spot-on casting) and the self-righteous, sarcastic Jack (deployed similarly to the way he was in "Stranger Than Paradise"). Benigni is specifically responsible for a couple of the film's best moments, one an ice cream protest and the other involving a rabbit. His comedy brings a dimension and energy to this film that "Paradise" was missing, and it fits within Jarmusch's style and framework.

"Down by Law" also feels more cinematic. Jarmusch includes more of the New Orleans setting and the Louisiana wilderness with dollying/trucking shots that help immerse his very intimate stories in something larger, in this case the lawlessness of NOLA and the swampland. Maybe Jarmusch doesn't have a neatly wrapped up moral to send us home with, his film clearly establishes a belief in an unpredictability to our world. And given the way his characters handle it, you can tell that he views humans as people who are eternally torn between self-interest and companionship.

Jarmusch's early work shows great vision of how he wants to tell stories, with less emphasis on what those stories are trying to say. It's as though he's running experiments with his characters, and what plays out in his films are the results. Fans of art films and theatre will surely appreciate these early offerings, while those who prefer a director take them on a ride rather than present them an experiment to observe will have trouble connecting.

~Steven C

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I've seen a couple of Jarmusch movies and except for Dead Man (which I thought was an incredible bore), they were all great.

Down By Law is probably one his best known flicks and is a very good low budget movie. It features Tom Waits, who's not only a fine musician but proves to be a decent actor as well; John Lurie, who also wrote the excellent soundtrack (Waits delivered the opening and end-credits track btw); Roberto Benigni, who nowadays is most famous for directing the Oscar-winning Italian film "La Vita E Bella".

The movie deals about three guys who meet in prison and escape. It reminded me of "O Brother Where Are Thou?" and, perhaps because of it being filmed in black and white, of old 40's movies about escaping prisoners (can't think of a good example, but you get the picture).

Three things I liked very much about this movie:

1. It's incredibly funny, especially Benigni made me laugh every time he opened his mouth - He irritated me highly in "La Vita E Bella" so that must mean something....

2. The frame of the camera is very well used. Look at the scene where Lurie counts the money and a hooker is laying behind him on the bed and the scene after that. Another example is when Benigni is dancing with a lady and the other two guys are continuing their breakfast in the back.

3. It's very hard to pinpoint when the story takes place; it's timeless in more than one way, obviously helped by the lack of color.

All in all, this one comes highly recommended.

Wow, what a movie. Far away from Hollywood, Jim Jarmusch creates a world where you don't need drama, pathos and action to fascinate the watcher. Because fascinating is exactly what this movie is. A plot in the classical sense is almost completely missing; the scenes, in their simplicity sometimes reminding of theater, follow each other without ever creating real suspense; neither griping action nor complex dialogues are there to excite the spectator. And still, with ease Jarmusch fills more than a hundred minutes with a story you won't take your eyes off. It is hard to tell what the atmosphere of the movie is really based on, the characters, the setting, entirely in black and white, the music - probably all of it. Again, like in Jarmusch's later movie "Dead man", speed is an important factor: everything moves slowly, without haste, as there is no dramatic climax you could hurry towards; yet, boring is a word that certainly doesn't fit this piece of cineastic art. On the other hand, though some of the scenes seem quite surrealistic, it is not a really artistic movie breaking with all the traditional concepts of filmmaking; it is more a movie in classic shape with an unconventional story, not trying to shock, to confuse or even to make you think so much; this movie doesn't need all this to get your complete attention. You could probably speculate a lot about the meaning of the movie; to me, this seems highly unnecessary. Just let it unfold its atmosphere. Judge yourselves, but I was excited in a very special way by every scene of this motion picture, giving me one of my best cineastic experiences of the recent time.

This may very well be a mans' journey film, actually literally, but philosophically, it's still one that serves to be a reminder of all of the things in life and about how our choices eventually need to come to a head. The three lead actors are very naturalistic, except Benigni who seems to overdo it at times. The writing and the directing are typical Jarmusch, and we are able to experience just what he is feeling in every frame. So typical that audiences themselves will be wondering what is going on, and seeing as how it's plot less besides the obvious already in the summary, only Jarmusch fans who know what they're getting into will not be surprised by its narrative. If anything, it's one of his plottier films.

I've been binging Jarmusch's filmography this week for the first-time knowing little about his films and style of storytelling. In my opinion, this is his greatest achievement. The cinematography is beautiful; all of the river-boating scenes looked incredible. The performances are all great, especially Benigni's who had me in tears from laughter. The pacing is also solid; how these three very different men form a bond is a marvel to experience. On the whole, the story is a unique take on the 'prison film' and operates in that perfect balance of quirky and realistic. If you're like me and you're ripping through Jarmusch films for the first time, I'd say this is a pretty great introduction to the man and his mind.