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Of all the artists in any medium who seem to get a lot of credit for doing very little Jim Jarmusch takes the cake. This movie seems like something thrown together as a lark by a few buddies after a few beers. I guess advocates of anti-hollywood artyness needed a new posterchild and Jarmusch was in the right place at the right time with the right haircut.
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On Stranger than Paradise, one could be forgiven if they felt Jim Jarmusch was being a little pretentious. As minimalist no budget film making, there were lots of those so called artsty shots that cojure up a laundry list of foreign art house directors. But Stranger than Paradise was not only a watershed moment for the American indie film, it also set the stage for Jarmusch as a great indie film director and it was the stepping stool for the great Down by Law, arguably his best work.
Like Stranger than Paradise, Down By Law follows of a trio of losers. While the characters in Stranger than Paradise were living possibly on pipe dreams, Down by Law's trio are losers of the worst kind. Tom Waits plays a down on his luck DJ set up delivering a car that, unbeknownst to him, carries a dead body while John Lurie plays a pimp, also set up to meet a possible new employee. This basic setup allows both characters to meet up with Roberto Benigni in jail, escape, and get down and dirty in the swamps of Louisiana.
One of the most remarkable things about the film is the feeling evoked by the long takes, emphasizing minimalist film making and allow us to watch, feel, and observe these characters. There is a degree of mistrust, annoyance, and friendship that exists between our three "heroes" as they wander through Louisiana. As outsiders, we feel it all. Jarmusch's long takes seem like they say nothing. Some argue that nothing is going on. The beauty of the scenes is the patience they reward the viewer. Instead of quickly flashing to the next scene, we get the feeling of despair, hopelessness, and even apathy as the three character reside in prison.
On this film, Jarmusch found a brilliant collaborator in Robby Muller who serves as director of photography on this film. Capturing the mood and feel of New Orleans from the opening montage through the dingy swamps, it's the fourth main character. Jarmusch comments on the disc that he specifically chose not to shoot the more tourist areas. We get a feeling of blue infected south, that is only emphasized by John Luries sporadic jazz/blues inspired score.
Like all of Jarmusch's works, there really isn't a "plot" per se. Yes the main characters are wrongfully imprisoned and consequently escape, but this is not a fast paced action drams. It's mostly a character study. Watching the interactions between the three characters is precious. Lurie and Waits have excellent exchanges and are great here, despite the fact they are not traditional actors. As their foil, Roberto Benigni provides a somewhat madcap (though according to Jarmusch, somewhat restrained) performance, easily stealing the show and providing a hint of color to an ironically black and white film.
This edition is another excellent entry from Criterion. While Jarmusch doesn't provide a commentary (he doesn't do em, so don't ask), he talks a good while on every aspect you'd like to know about the film in a set of audio only reflections. There is also a very entertaining q&a from fans, phone calls to the stars of the film, and a video of Waits directed by Jarmusch and much more.
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An oddball road movie with three of the quirkiest characters you're likely to encounter, "Law" is a hilariously deadpan portrayal of hipster cool on the skids. Waits is perfectly cast as Zack, a struggling record spinner with a gravelly voice like Wolfman Jack's, and long-faced New York musician Lurie is excellent as the scowling, caustic Jack. Of course, irrepressible Italian comedian Benigni steals virtually every scene he's in (which is pretty much the second half of the movie), but the three have a punchy rapport nevertheless. Watch for Ellen Barkin in her first screen appearance as Zack's fed-up girlfriend. Witty and melancholic, "Down By Law" is tailor-made for off-kilter tastes.
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Jarmusch's Down by Law opens with Tom Waits's seemingly nonsensical song "Jockey Full of Bourbon" playing in the background as the camera films various poor sections of New Orleans. However, while the song's lyrics might seem nothing more than a series of random phrases, it is quite fitting because they are a good representation of the absurdity of life and how chance circumstances can lead one on completely unexpected paths in life.
Filmed totally in black and white, which gives the already grim scenery an even grainier appearance, the film follows two characters, Zack (Tom Waits) and Jack (John Lurie), and the circumstances leading to their imprisonment. Both men set up by "friends" who seemingly had a bone to pick with them and while in prison they are introduced to a third fellow named Roberto who eventually helps them escape from prison.
While the above description is quite bare boned, it does sum up most of the film's "action" however, those who are familiar with Jarmusch's filmic work should be well aware that the minimalist director rarely, if ever, does anything overblown, but instead allows the humor of his films to seep through with dialogue and bantering amongst his characters. In fact much of the film takes place within the confines of a small jail cell. The music, by Tom Waits, is, as with almost every Jarmusch film, quite excellent.
While Down by Law might seem like nothing more than talking heads to some viewers, for those who enjoy simpler films that are stripped down to the bare essentials while still maintaining a great sense of humor, Down by Law is a great film to see.
Rating:  -
This is a film that I never knew of but for the fact that at the time, I had a large satellite dish. Saw a bit of the movie on one of the hundreds of channels available. I had to see the whole thing. It's a good movie and written and directed by craftsmen not mainstream war mongering moguls. If you like this you must also get "Dead Man." One of the most brilliant pieces of cinematography that I have ever witnessed.
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