As the extremely withdrawn Don Johnston is dumped by his latest woman, he receives an anonymous letter from a former lover informing him that he has a son who may be looking for him.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.
In a vignette called "Strange to meet you," Roberto sits at a small table in a coffee bar. Five cups of coffee and two ashtrays are in front of him; he drinks and smokes. Steven joins him. ... 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 »
A Japanese couple obsessed with 1950s America goes to Memphis because the male half of the couple emulates Carl Perkins. Chance encounters link three different stories in the city, with the common thread being the seedy hotel where they are all staying. Written by
Ed Sutton <email@example.com>
The book Luisa is reading when she is approached by the man with a story about Elvis' ghost is "Orlando Furioso" (The Frenzy of Orlando), an Italian epic poem by Ludovico Ariosto. See more »
After Charlie drops the liquor bottle, the position of the glass fragments change between shots. See more »
[both stare at a plum on the counter, neither saying a thing]
I don't think you should eat that thing.
Yeah, you're probably right.
You gonna eat it?
No, I'm not gonna eat that thing.
[at this, the night clerk casually reaches over and eats the plum in one bite]
Hey...you ate my plum!
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"Mystery Train" is a witty look at different aspects of one of the crazes of our time, the worship of Elvis Presley. The cast includes cult performers like Tom Noonan (the serial killer in Michael Mann's "Manhunter"), Steve Buscemi, and singer Tom Waits (heard on the radio), and it is directed by one of America's leading independent directors. "Mystery Train" is possibly Jim Jarmusch's most immaculate film, and though the movie gets steadily darker in its comic tone, it is his least bleak work to date. The patterning is precise, the film growing richer as the three strands are finally woven together, or perhaps unwoven, as the characters go their separate ways. Robbie Muller, the great Dutch cameraman who shot Alex Cox's "Repo Man" and Wim Wenders' "Paris, Texas", once more brings an outsider's perspective to the American landscape, giving the night scenes and hotel interiors a Hopperesque look and endowing a dilapidated section of Memphis with an elegaic sadness.
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