Two innocent people are arrested. An interesting third person, with broken English, joins them in their cell. On his idea, they decide to escape from the prison. Their journey is the rest of the movie.
A self-styled New York hipster is paid a surprise visit by his younger cousin from Budapest. From initial hostility and indifference a small degree of affection grows between the two. Along... See full summary »
As the extremely withdrawn Don Johnston is dumped by his latest woman, he receives an anonymous letter from a former lover informing him that he has a son who may be looking for him. A freelance sleuth neighbor moves Don to embark on a cross-country search for his old flames in search of answers.
This shortcut repeats the structure of Coffee and Cigarettes. This time, Iggy Pop and Tom Waits meet in a bar. But, again, we don't know why they agreed to do that in the first place, ... See full summary »
A brother and sister, sitting in a coffee bar, bicker mildly about whose idea it was to come to Memphis and which kind of cigarette is fresher. Danny, their waiter, comes by offering ... See full summary »
DJ Zack and pimp Jack end up in prison for being too laid-back to avoid being framed for crimes they didn't commit. They end up sharing a cell with eccentric Italian optimist Roberto, whose limited command of the English language is both entertaining and infuriating. More useful to them is the fact that Roberto knows an escape route. Written by
Michael Brooke <email@example.com>
Only Jim Jarmusch film made with "American money" as Jarmusch himself calls it. He says that he prefers not to have his films funded by Americans because there are too many "strings attached". See more »
Zack writes the number of the days that he's spent in cellar on the wall. Before he fights Jack for the first time, he angrily writes two big lines (two days). In the next scene with Roberto they are normal length. See more »
Julie, what're you doing out here?
Just watching the light change.
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One of the most frequently heard criticisms of Jarmusch's work is that the pace is slow. I would like to make a case for patience. After all, if true beauty and grace were delivered in one massive hit, our poor brains and hearts would not withstand the blow. In Down By Law, Jarmusch invites us to take some time, some real time and devote it to getting deeply involved with his characters. Men in crisis. Misfits, jailbirds, heartbreakingly human. We accompany them on their journey, their escape from their confines. It is a truly epic journey on a small geographical scale. We watch as they begin to mirror one another, as their individual egos become inextricably enmeshed in one another. We watch a friendship form. And how can we begrudge the time Jarmusch takes for this glorious exposition? How can we do anything but marvel at the fine detail in which the scenes are drawn, at the subtle movements of our heroes? Every gesture signifies worlds of meaning and consequence. And Jarmusch does it better, with more skill and with more compassion than anyone. If you are prepared to get involved, if you are brave enough to commit to the journey, you will be rewarded with a kind of epiphany that few films can offer.
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