As the extremely withdrawn Don Johnston is dumped by his latest woman, he receives an anonymous letter from a former lover informing him that he has a son who may be looking for him.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.
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.
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 »
The resolutely single Don Johnston has just been dumped by his latest lover, Sherry. Don resigns himself to being alone yet again and left to his own devices. Instead, he is compelled to reflect on his past when he receives by mail a mysterious pink letter. It is from an anonymous former lover and informs him that he has a 19-year-old son who may now be looking for his father. Don is urged to investigate this "mystery" by his closest friend and neighbor, Winston, an amateur sleuth and family man. Hesitant to travel at all, Don nonetheless embarks on a cross-country trek in search of clues from four former flames. Unannounced visits to each of these unique women hold new surprises for Don as he haphazardly confronts both his past and, consequently, his present.Written by
Ride Your Donkey
Written by Albert George Murphy, Norman Anthony Davis
Performed by The Tennors
Published by Universal-Polygram Int'l. Publishing & Island Music Ltd.
Courtesy of Sanctuary Records Group See more »
A subtle, quiet, quirky, and largely interpretable drama
Don Johnston, that's "with a T," has been left by his latest girlfriend and has also received an anonymous letter from what can only be a former flame. It states that he has a 19 year-old son who is looking for him. With the persuasion of an odd, but well meaning neighbor, he sets out to figure things out in his slow and uneventful life.
With a large focus on sensationalism these days, even in dramas, even in good dramas, like History of Violence and Crash, there is always usually that element of the extraordinary. Huge life changing experiences that not only change the protagonist, but everyone around them. Inner racial tensions shoot out like a shell out of a cannon or a violent past hits a character like a freight train. But here, Jim Jarmusch gives us... nothing. A boring man who could care less about anything. Who just drives and dully interacts with his former girlfriends. Barely showing any sort of exterior emotions to even some truly unexpected surprises. Like Murray in the lead, Jarmusch chucks in a lot of subtleties here and there. And like Murray in the lead, these subtle hints of what is really going on hardly lead anywhere unless the viewer decides they do.
It also works out as anything but a turn off or anticlimax (holycrap, did I just say that?), but rather gets you to think back to what you saw. And it REALLY points out the impact of relative perception to events past with those complex creatures known as humans. --- 8/10
Rated R, but really has minimal profanity and brief nudity.
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