Coffee and Cigarettes

my impression of the film is that jarmusch wasn't really trying very hard. perhaps i'll be proven wrong and this film will one day be shown to have an understated genius about it, but i doubt it. the film is merely a collection of shorts that jarmusch has been putting together since 1986. the first one was the first one shot and the later ones seem to be filmed more recently (judging by the age of bill murray, and inclusion of alfred molina or meg/jack white, for example), but i can't verify that it was presented in the chronological filming order. at any rate, the film revolves around various people discussing various things over coffee (or tea) and cigarettes. more than anything the film made me want to go to a diner and have a coffee with some apple pie a la mode. unlike 'stranger than paradise' or 'down by law' this film had very little lasting effect on me. i had fun while i was watching it - jarmusch always has a quiet humor to his films, producing more chuckles than outright laughs - but it didn't leave me thinking like some of his others have. i like the molina/coogan and rza/gza/murray shorts the most. i don't mean to give the impression that the film is bad or that i don't like jarmusch because both are incorrect, it's just that jarmusch has done better and the film was mostly good fluff. B-.

--Mild spoilers--

I haven't seen a single Jarmusch before this and have no knowledge or his style whatsoever, nor have I smoked a cigarette while drinking coffee, but I enjoyed this film immensely.

It doesn't purport to speak of grandiose themes and epic emotions, nor does it go out of its way to be deliberately offbeat and quirky; the audience has no emotional attachment to the characters and there is no plot in most of the vignettes. So what puts this film above all the pretentiously shot black-and-white art-house crap that is slugged out every year? For one thing, it is really funny. From its expressionistic colors to the dialog that proudly smacks of absurdist humor, this film is like a breeze of cool air, utterly enjoyable from the first reel to the last that does not cloy on to the heart, but is very unforgettable.

Ultimately, its unobtrusive absurdist humor, which provokes chuckles instead of heartily laughs, serves to prove the Pinter-esquire themes of the futility of communication. We get a sense that the characters are isolated and desperately trying to touch each other through their speech but ultimately failing to do so; and yet, through their manic speech patterns and delirious pauses, what is unsaid speaks more than what is said itself. While this unconventional style of humor is often difficult to pull off as it might fast become monotonous (as evident in a recent stage production of The Caretaker that I saw), Jarmusch's deft direction with his actors (from their gestures to the way they hold their coffee cups) pushes forth the humor and carries it on steadily throughout the entire film.

It is hard to say much about a film who has nothing much to say. As in my favorite segment, 'No Problem', the one with the two French black guys, their dialog only serves to underscore the meaningless and nothingness of communication. What is scary about it is that it is so accurate, that these type of conversations, however ridiculous and absurd when portrayed on screen, often typifies our daily conversations. It depresses me sometimes that human communication can be easily reduced to all these, and this film makes the point entirely clear.

So it definitely comes as a relief, that as a conclusion, the relatively more heart-warming vignette with the two old guys (Champagne) was chosen. Not only does it touches lightly on the recurring 'acoustic resonance' theme, it also hints that we may in fact touch each other, through common music or through a common idea. And it just happens that that common song was 'I have Lost Track of the World' by Gustav Mahler, an amazing piece by an amazing composer that I have just recently began to love, a delightful moment which shows that although we are as disconnected at the different vignettes in the movie, it is comforting to know that we are still united in some weird cosmic way, like this forum here. And like the two old guys, after our coffee and cigarette break in which we step into an odd world that is not really unfamiliar, we would have to step back in to the real world again. But it doesn't hurt to have a little nap in between and pretend bad coffee is champagne.

I loved this movie. Okay, I loved about 75% of it. But I'm glad I saw all of it. I don't smoke, I only drink coffee when it's dressed up in a frilly disguise, and I didn't recognize everyone in the film, nor did I much care about that. I didn't recognize the writer/director's name, though I really enjoyed Night on Earth and Dead Man, and now I know his name. It was just so good to see this parade of tense interaction, waiting on or predicting what would come next. I loved how some of the moments in the first vignette were mimicked in a later one by an entirely "different" set of people.

I loved the stark interruptions of uncomfortableness, loved watching all the people pour their coffee or tea, loved the hilarious facial expressions of Molina and Coogan--it seemed to me they were portraying the two most extreme British stereotypes interacting with each other, and it was clearly fun for them.

I enjoyed the cheap, gritty sets, the introductions and goodbyes. I am not sure who the movie would best play for; as I sat and thought about who to share it with, only members of my own family came to mind. We're all a bit quirky, so the best way I can put it is that maybe if you like the "mockumentaries" of Christopher Guest, but can appreciate an even darker twist, you'll have a laugh at this.

The boring parts were the shortest, and the vignettes I liked best were so much fun it was worth the whole picture to see them.

An odd concept for a film, Coffee and Cigarettes can be seen as either one of two ways. On one hand a dark, clever, ingenious piece of cinema, or on the other hand a dark, clever, ingenious piece of cinema. Jarmusch has succeeded in gathering as diverse a cast as you're ever likely to see, the site of GZA, RZA, and Bill Murray waxing intellectual over smokers cough and herbal medicines is enough to interest even the most fervent sceptic of such work. Even the Cate Blanchett (whom i'm not a huge fan of) scene was so well set up and written (or improvised, who knows) that you find your self unable to turn away, so intent are you on what she has to say next. Alfred Molina and Steve Coogan are so wonderful as over blown versions of themselves, Coogan as a super arrogant celebrity and Molina as a bumbling, sweet, excitable actor. Together they form what would be the best scene of the whole film, that is if it wasn't for Iggy and Tom. Ah Iggy and Tom, such characters, such dialogue, such a beautifully surreal piece. Iggy (or Jim to his friends) is more like an over nervous school boy than an ageing rock star, and Tom is strong as the defensive perfectionist. All in all this film succeeds in what it tries to do, if you like dark surreal comedy then you'll like this. Be warned though it will give you a craving for Coffee and Cigarettes.

In all honesty I just wanted to watch this movie to see Iggy Pop, Tom Waites, The White stripes and Bill Murray. I was tempted to fast forward all the other vignettes to get to the ones with these characters in but thankfully I never or I would never have seen 'cousins?' -- Alfred Molina and Steve Coogan playing themselves in an absolutely perfect portrayal of the shallow, sickening and repellent nature that comes with fame. Coogan takes the word 'scumbag' to new heights, and Molina's keenness and almost innocence which slowly turns sour is perfectly pitched. Jarmusch has managed to capture the minutia of the trappings of fame so succinctly that sometimes it's difficult to watch. It's excruciatingly embarrassing but just gorgeous and has to be seen -- several times.

Likewise with 'somewhere in California'. Iggy and Tom play themselves but you can call Iggy Jim or Jimmy or Iggy or Jiggy if you like! Tom initially opts to call him Iggy but proceeds to refer to him as Jim throughout, and so the off-kilter banter begins. It's an hilarious portrayal of two guys who obviously have a mutual respect for each other's work but don't actually know each other that well. A series of ridiculous conversations and awkward silences ensue with Iggy becoming more and more animated and expressive to over-compensate for Tom's laidback yet defensive attitude. There are some excellent one-liners and it's just great watching these two giants chew the fat, fighting their different corners and trying to keep their cool.

I also thought Cate Blanchett shone in 'cousins', playing both roles as bitter cousin/ insipid famous cousin. It's another awkward, horrible meeting between two people -- one has made it, the other hasn't, and It's plain to see there isn't much love between them. We witness a series of underhand, loaded and nasty comments all in the guise of friendship, a friendship that only exists due to family ties.

Coffee and cigarettes the movie is a bit like coffee and cigarettes the vice: you'll get a buzz that's for sure. It's is an easy watch and each vignette has its qualities but as a whole it's a bit of a cheeky movie. It gets off on the fact that it has all these fab artists starring in it which goes a long way but not far enough. But I can't stress enough that it really is worth getting this movie out for the Coogan/Molina and Pop/Waites vignettes. Both priceless and essential viewing.