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"I'd Completely
Forgotten That Sharon
Stone Can Act" |
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Directed by Jim Jarmusch
- Written by Jim
Jarmusch
Starring Bill Murray,
Jeffrey Wright, Sharon
Stone, Julie Delpy,
Alexis Dzenia
Frances Conroy, Jessica
Lange, Chloe Sevigny,
Tilda Swinton
Distributed by Focus -
2005 - 106mins - Rated R |
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Richard Propes'
Review
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B+ |
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Sometimes life brings some strange surprises. |
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Jim Jarmusch's latest
film, "Broken Flowers," won the Grand Prize of the Jury at the 2005
Cannes Film Festival, recognition that began Oscar talk for the often
critically acclaimed Jarmusch, a minimalist director whose penchant
for poetic cinematography, black & white photography and quirky
characters makes him a prime candidate for critical acclaim but
unlikely to attain any degree of box-office success.
"Broken Flowers" is unlikely to make Jarmusch a household name,
however, it is a sign of of directorial growth and a film that begs to
be watched, if only for the latest mid-life crisis role from Bill
Murray and the often funny performance from Jeffrey Wright as his best
friend, Winston.
In "Broken Flowers," Murray portrays Don Johnston (with a "T", as he
notes often), a former Don Juan who has it made financially due to
success in computers, even though he doesn't have a computer in his
own home. As the film opens, Johnston is watching yet another
girlfriend leave (Julie Delpy) and while he verbalizes caring he can't
seem to invest himself in any sort of intervention to prevent her
departure.
Much has been made of Murray's recent roles that are similar in tone
to Johnston...most notably, in the recent "Lost in Translation,"
another film that looked at relationships, connections and the stages
in life. Yet, I find myself most impressed with this performance...it
is far from a monotone performance, instead choosing to express its
emotion through looks, body language, simple gestures and actions.
Few, if any, directors can present the mundane realities of life as
well as Jim Jarmusch and this film is an exemplary example of
Jarmusch's gift presenting life "as is", without allowing histrionics
or drama to get in the way.
Johnston receives a letter, unsigned, on the day that his latest
girlfriend leaves. The letter implies that he has a son who may, in
fact, be looking for him. Murray's Johnston is clearly moved by this
possibility, but again has difficulty investing himself in any
resolution. Instead, his Jamaican neighbor Winston begins exploring
and attempting to discover who may have written the letter. Winston is
sort of the "anti-Johnston," a happily married family man with several
children and three jobs. Whereas Johnston has resigned himself most
days to sitting on his couch doing nothing, Winston is constantly
doing something.
With Winston's prodding, Johnston sets off on a journey to visit the
five potential women who could have written the letter, including a
visit to the grave of one of the five.
Jarmusch, who also wrote the script, never takes the easy way out in
his films. Hilarious situations, intense action or catharsis would be
too simple...no, in a Jarmusch film it is often as simple as
characters presenting themselves as they really are...not living in
the past, not focused on the future...Jarmusch presents his characters
in the now.
Along the way, Johnston encounters these past relationships and we see
glimpses, sometimes brief and painful glimpses, of the way he was and
the spark that never actually died. All of these women connected,
clearly, with Johnston yet each clearly had a different emotional
experience that stayed with him. Was he a true Don Juan or simply a
wounded child who, despite his statements to the contrary, could never
actually commit himself to the present? It's hard to say, but
entertaining and moving to watch.
First, he encounters Sharon Stone's "Laura," in Stone's best
performance in years as a widow (of a race car driver) who now
organizes people's closets for a living. Alexis Dziena plays her
daughter, aptly named Lolita, a young woman who may be mirroring the
woman her mother once was and, in many ways, the attraction she once
felt for Johnston. It's a sparse, yet focused scene that is,
unfortunately, never truly matched again by Jarmusch in the film.
Next, Johnston moves on to Dora (Frances Conroy), who is now married
to Ron and they work together in real estate selling pre-fab homes.
Whereas Laura lived in a world of earthy authenticity, Dora's world
feels plastic and uncomfortable. Her husband, played by Christopher
McDonald (who finally is starting to shake that "Happy Gilmore"
performance), seems to be constantly trying to sell...himself, the
relationship, his houses...you name it.
Next, Johnston visits Carmen (Jessica Lange), an animal communicator
with a protective assistant (Chloe Sevigny). As I was watching "Broken
Flowers," I began to get the sense that these relationships were, in
fact, being presented in order giving us an insight into the emotional
decline of Johnston himself. By the end of his journey, Johnston is
emotionally and physically bruised...he has gone from great freedom
and passion to fear and conflict and pain. It becomes easy to
understand Johnston's journey and why it leaves him crumpled and
lonely on the couch. The brief, closing encounter with Penny (Tilda
Swinton) is one of bitterness, anger, disappointment and pain...it is
sad to watch because it is obvious that it led to his relationship
that had, in fact, just ended back home.
So often in films today, audiences are spoon fed by filmmakers who
drown their films in overwrought drama and forced melodrama surrounded
by millions of dollars in special effects and set design. A Jarmusch
film, on the other hand, is often an exercise in patience, listening
and independent thought.
Yet, all is not perfect in "Broken Flowers." Too often, Jarmusch is
content to weave together photographic moments that are focused more
on atmosphere than enhancing the film itself. It occasionally feels as
if we are watching a photo essay rather than a film...likewise, the
film's score becomes a tad repetitive and distracting towards the
film's end. Additionally, the supporting characters (mostly the women)
are just a touch under-written, not in dialogue, but in character
development. Jarmusch's minimalist dialogue works beautifully, but
allowing further character development would have enabled the audience
to become more invested in the journey. Of course, it's hard to deny
that this lack of investment played very well as a mirror to
Johnston's own journey. This may have actually been Jarmusch's intent,
however, I still found it somewhat disconcerting.
One seldom expects true resolution in a Jarmusch film, so the rather
abrupt ending was neither a surprise nor a disappointment. It is as if
Jarmusch reinforced to the very end that this is our journey and it's
all we have. It is neither good nor bad...it simply is.
"Broken Flowers" is one of Jim Jarmusch's finer films, and continues
Murray's string of recent marvelous performances. It is a film of
simplicity, grace and patient acceptance of the journey of life as it
unfolds. Always interesting, often funny and occasionally painful,
"Broken Flowers" blossoms as it unfolds. |
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© Written by Richard Propes -
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TC Candler's Comment
Bill Murray
plays apathetic and bedraggled better than
most. In Jim Jarmusch’s latest film, Murray
plays a Don Juan, well past his prime, who is
forced to go on a road-trip in order to find a
son he never knew existed. The script is witty
and patient in ways that are reminiscent of
Murray’s 2003 classic, “Lost in Translation”.
This film gets a little bogged down by the time
we get an eighth shot of Murray’s utterly bored
eyes staring into the ether. It hammers the
point a little too hard. But there is a
poignant script here, and enough truly original
moments to merit an easy recommendation.
Jacob Hall's
Comment
n/a
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