IMDb > Stranger Than Paradise (1984)
Stranger Than Paradise
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Stranger Than Paradise (1984) More at IMDbPro »

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Stranger Than Paradise -- Willie, his pal Eddie, and visiting sixteen-year-old cousin Eva always manage to make the least of any situation, whether aimlessly traversing New York City, Cleveland, or an anonymous Florida suburb.

Overview

User Rating:
7.6/10   19,739 votes »
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Up 54% in popularity this week. See why on IMDbPro.
Director:
Writer:
Jim Jarmusch (written by)
Contact:
View company contact information for Stranger Than Paradise on IMDbPro.
Release Date:
9 November 1984 (West Germany) See more »
Genre:
Plot:
A self-styled New York hipster is paid a surprise visit by his younger cousin from Budapest. From initial... See more » | Add synopsis »
Awards:
7 wins & 2 nominations See more »
NewsDesk:
(77 articles)
Nicole Garcia To Head Cannes’ Camera d’or Jury
 (From Variety - Film News. 18 April 2014, 2:19 AM, PDT)

Notebook Reviews: Jim Jarmusch's "Only Lovers Left Alive"
 (From MUBI. 12 April 2014, 8:53 AM, PDT)

Jim Jarmusch: Behind the Shades
 (From Rolling Stone. 11 April 2014, 10:30 AM, PDT)

User Reviews:
A small, sweet masterpiece See more (90 total) »

Cast

  (in credits order) (verified as complete)

John Lurie ... Willie
Eszter Balint ... Eva

Richard Edson ... Eddie
Cecillia Stark ... Aunt Lotte
Danny Rosen ... Billy
Rammellzee ... Man With Money

Tom DiCillo ... Airline Agent
Richard Boes ... Factory Worker
Rockets Redglare ... Poker player
Harvey Perr ... Poker player
Brian J. Burchill ... Poker player

Sara Driver ... Girl with Hat
Paul Sloane ... Motel Owner
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Directed by
Jim Jarmusch 
 
Writing credits
(in alphabetical order)
Jim Jarmusch  written by

Produced by
Sara Driver .... producer
Otto Grokenberger .... executive producer
 
Original Music by
John Lurie 
 
Cinematography by
Tom DiCillo 
 
Film Editing by
Jim Jarmusch 
Melody London 
 
Production Design by
Matt Buchwald 
Guido Chiesa 
Sam Edwards 
Tom Jarmusch 
Una McClure 
Louis Tancredi 
Stephen Torton 
 
Production Management
Sara Driver .... production manager
 
Sound Department
John Auerbach .... sound editor
Jack Cooley .... sound re-recording mixer
Ollie Cotton .... sound recording engineer
Greg Curry .... sound
Drew Kunin .... production sound mixer
Melody London .... sound editor
 
Camera and Electrical Department
Paul Gibson .... assistant camera
James Hayman .... assistant camera
Frank Prinzi .... gaffer
Frank Prinzi .... grip
Li-Shin Yu .... assistant camera
 
Editorial Department
Tim Brennan .... negative matcher
John Dowdell .... hd colorist (uncredited)
 
Music Department
Jill Jaffe .... musician: viola (The Paradise Quartet ) (as Jill B. Jaffe)
Eugene J. Moye .... musician: cello (The Paradise Quartet ) (as Eugene Moye)
Mary Rowell .... musician: violin (The Paradise Quartet ) (as Mary L. Rowell)
Kay Stern .... musician: violin (The Paradise Quartet )
 
Other crew
Sam Edwards .... production assistant
Suzanne Fletcher .... title designer
 
Thanks
Paul Bartel .... special thanks
 

Production CompaniesDistributorsOther Companies
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Additional Details

Also Known As:
Runtime:
89 min
Country:
Language:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Trivia:
Director Jim Jarmusch was dismayed to discover all the money he paid for the rights to Screamin' Jay Hawkins' "I Put a Spell on You" went to the record company, with nothing going to Hawkins himself. When the film earned a profit, Jarmusch took it upon himself to track down Hawkins (who was living in a trailer park, at the time) and give him some money. It was the beginning of a friendship between the two which lasted until Hawkins' death. According to Jarmusch, Hawkins continuously promised to pay him back, despite Jamursch's insistence that the money was a gift.See more »
Goofs:
Continuity: When Willie and Eddie are walking on the railway line in Philadelphia, there are tracks of their footprints in the snow from a previous take.See more »
Quotes:
[first lines]
Willie:Yeah.
Aunt Lotte:[speaks indistinctly in Hungarian]
Willie:Oh, hello, Aunt Lotte.
Aunt Lotte:[replies indistinctly in Hungarian throughout conversation]
Willie:Don't speak to me in Hungarian, please. No, I haven't heard from him, not for ten years. Yeah, I got your letter. Speak English, please! Yeah, my little cousin Eva. Yeah, I know, she's come - coming here and she's gonna stay overnight, when's she coming...
[...]
See more »
Movie Connections:
Featured in Wanderlust (2006) (TV)See more »
Soundtrack:
I Put a Spell on YouSee more »

FAQ

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22 out of 29 people found the following review useful.
A small, sweet masterpiece, 4 February 2005
Author: TheHumbleCritic from Los Angeles

Jarmusch was never much of a guy to dip in the mainstream; "Ghost Dog: Way of the Samurai" is about as Hollywood as you're going to get from him. His recent "Coffee and Cigarettes" might have alluded to his roots as an indie filmmaker, but its stories are monochromatic and offer little emotional variety save for the Albert Molina vignette. His best film might be this one, a miniature masterpiece that is underrated when compared to his other stuff. The basic premise of the film revolves around a New York immigrant from Eastern Europe, his goofy buddy, and his female cousin who comes to visit him and America as they jump from state to state.

There isn't much of a plot for sure, but Jarmusch more than compensates for this fact by creating three distinct characters that manage to be sweet without resorting to cheap sentiment. These guys might be rude and frivolous at times, but they never lose their sense of embarrassed compassion, nor as a direct result their humanity as complete characters as well. There's a morose wit to all of these proceedings. All three actors truly seem to have a playful camaraderie, working the motions of a natural friendship with Jarmusch's direction that shows them at their happiest only to be disappointed again and again, like a kid getting clothes instead of video games at Christmas once more. This honest and easygoing subtext doesn't include undemanding Hollywood moments of syrupy tenderness or mawkish emotion. For once, the clichéd adage of characters writing themselves is probably true here, as the film has an almost improvised quality to it. Jarmusch gets the careful balance between static ugliness and a subtext of natural warmth just right.

While the great heart of this film lies in its characterization, it's catapulted into greatness because of Jarmusch's quiet touch. In nearly every one of his films the director is obsessed with the awkward silences that make up nearly every relationship. He's much more revealing with the silences here, fleshing out character development in a car ride or while staring out at the blankness of snowy Cleveland. This brings me to my final point that Jarmusch again does with intelligence. When the characters move from city to city, they have a passionate belief that what they will find is something unbelievable. But the New York we see is a bunch of back alleys and graffiti. Cleveland is a blank white expanse, strangely vapid as opposed to pictorial. And Florida has to be the ugliest Florida ever depicted on screen, consisting mainly of a "Welcome to Florida" sign and a decrepit motel. While the main message is that life is often full of disappointments, that life is rarely full of transcendent moments, people can still connect with each other regardless of their surrounding environments. It's Jarmusch's best statement yet, and it's for these reasons this one must be seen even before even his fine "Mystery Train." The film, essentially a three-character comedy, is also thankfully kept brief, becoming genuinely meaningful and moving as a result.

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Corgai? Korgai? (One of those posts that will prob. get zero replies) teapotasterism
Eva's sneakers in the motel pshu4
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