The Limits of Control (2009)

User Rating:

6.7/10   

Director:

Jim Jarmusch

Writer:

Jim Jarmusch (written by)

Release Date:

28 May 2009 (Germany)

Genre:

Crime | Drama | Thriller

Tagline:

For every way in, there is another way out.

Plot:

The story of a mysterious loner, a stranger in the process of completing a criminal job. |

Cast

Isaach De Bankolé	...	Lone Man
Alex Descas	...	Creole
Jean-François Stévenin	...	French
Óscar Jaenada	...	Waiter
Luis Tosar	...	Violin
Paz de la Huerta	...	Nude
Tilda Swinton	...	Blonde
Youki Kudoh	...	Molecules
John Hurt	...	Guitar
Gael García Bernal	...	Mexican
Hiam Abbass	...	Driver
Bill Murray	...	American
Héctor Colomé	...	Second American
María Isasi	...	Flamenco Club Waitress
Norma Yessenia Paladines	...	Flight Attendant

Also Known As:

No Limtis No Control (USA) (closing credits title)

MPAA:

Rated R for graphic nudity and some language.

Runtime:

USA:116 min

Country:

USA | Spain | Japan

Language:

English | Spanish | Hebrew | French | Japanese

Color:

Color

Sound Mix:

Dolby Digital | DTS

Certification:

USA:R | Canada:13+ (Quebec) | Canada:14A (Manitoba/Ontario) | Canada:PG (British Columbia) | New Zealand:M | Portugal:M/12 | Japan:PG12 | Hong Kong:IIB

Filming Locations:

Almería, Andalucía, Spain

Company:

Focus Features

Trivia:

When Tilda Swinton talks about a swooping bird in a room full of sand she is referring to a scene in the Andrei Tarkovsky film Stalker (1979).

Goofs:

Factual errors: When the Lone Man travels from Madrid to Sevilla, he enters a S 100 AVE train set. But the interior shots are clearly done in a S 103 (Velaro E), a totally different - and much newer - type of train.

Quotes:

Blonde: The best films are like dreams you're never really sure you had.

Movie Connections:

Referenced in "The Rotten Tomatoes Show: Watchmen/Shuttle/12 (#1.2)" (2009)

Soundtrack:

Farewell

A film of mystery and silence

It has been said that God is a circle whose center is everywhere and whose perimeter is nowhere. In the beautiful and enigmatic The Limits of Control, director Jim Jarmusch puts it this way, "The universe has no center and no edges" and, "everything is subjective", or "reality is arbitrary". Based on a script of only twenty five pages, The Limits of Control is about an immaculately dressed but emotionally frozen hit man (Isaach de Bankolé) who goes from place to place awaiting further instructions. He has no overview of the entire game plan but waits for his next move whenever he meets the next contact.

Set in Madrid and Seville as well as some isolated villages in the South of Spain, the cinematography by Christopher Doyle, who was worked extensively with Wong Kar-wai, is filled with elegantly-composed images of dark streets, barren landscapes, city skylines, and world class paintings. Getting his instructions at the airport before leaving for Madrid from Creole, played by the French actor Alex Descas, de Bankolé is told simply to go to a café and look for the violin. Further instructions come from various people he meets along the way in the form of a greeting "you don't speak Spanish, right?" and the exchange of matchboxes, one of which contains a curious code which the hit man simply eats. De Bankolé hardly ever speaks other than to say "yes" or "no." We learn little about him other than he prefers two cups of espresso served in separate cups and that he practices Tai Chi. We also discover that he likes women because we can see that he is tempted by the naked beauty Paz de la Huerta who suddenly appears in his hotel room. Although he openly admires her backside, he tells her that he never engages in sex while he is working (though I've never seen anyone who is working do such little work). As de Bankolé goes from location to location, each scene becomes a variation of the one that came before. Included are some provocative sequences such as repeated visits to an art gallery in Madrid, and a scene inside a bar in which de Bankolé watches a rehearsal of an exquisite flamenco dance in which the singer delivers dialogue from the first scene of the film warning us like some spiritual guru about the limits of ego.

"Those who think they are important", he sings, "wind up in a cemetery – a handful of dust". Along the way, we are introduced to some of recognizable stars. Tilda Swinton in a platinum wig, white cowboy hat, and boots talks about film noir, saying how she admires characters that never speak. Luis Tosar talks about musical instruments. Youki Kudoh speaks about molecular reconfiguration and the things that are possible in science. John Hurt tells us about the origins of the word "bohemian". Gael Garcia Bernal talks about how consciousness can be altered by psychoactive drugs like Peyote. Finally, Bill Murray as the ugly American corporatist says that our minds have become polluted by all of the subjects that have been previously discussed.

Supported by a soundtrack of electronic music by the trio Boris, The Limits of Control is a film of mystery and silence and unexpected twists that is about the power of imagination and poetry to operate without arbitrarily imposed limits. Sensing that we are in a period of change, Jarmusch says, "I almost feel like we're really on the cusp of an apocalypse of thought because all of these old models that they tell us are reality are all crumbling." What the "apocalypse of thought" will look like is uncertain but the film has a hypnotic, dreamlike quality that challenges the distinction between what is real and what is a product of the mind. In the film's final sequence, de Bankolé surveys a compound guarded by masked security officers with guns. The next minute, we see him inside the compound confronting the object of his search. When asked how he got in, he simply replies, "I used my imagination." If you want to know how that occurs, I would echo the film's message and say – use your imagination. That's all that there is anyway.