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Broken Flowers (2005)
    
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Director:
Jim Jarmusch |
COUNTRY
USA/France |
GENRE
Drama |
NORWEGIAN TITLE
Broken
Flowers |
RUNNING
TIME
106
minutes |
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Producer:
Jon Kilik
Stacey Smith |
Screenwriter:
Jim Jarmusch |
Review
For good or bad, it
isn't particularly surprising that Jim Jarmusch's latest outing,
Broken Flowers was hailed by the Cannes jury while being completely
ignored by the Academy. In typical Jarmusch fashion, this is a
notoriously low-key, meticulously structured and deliberately slow-paced
film starring the rejuvenated Bill Murray embarking on a quest in search
of his alleged son. Conducting a film like Jarmusch does here can turn
out either way; it may become a tedious and tensionless drag, or it may
turn out as it does here - a magnetically fascinating piece of film.
Jarmusch style of
direction is delicate. It requires balance to make it work; here it
really does. When you can allow yourself to be confident enough to
include seemingly empty scenes of stillness (or several seconds of a
take-off, bookended by a slow fade-in/fade-out), and make it work, you
can really benefit from that when the more semantically weighty scenes
come up. In Broken Flowers, the pleasant build-up (largely
fuelled by an inspired Jeffrey Wright) builds the perfect platform for
the film's road-movie part in which Jarmusch is able to conduct some of
the most enthralling and enigmatic sequences of his career. It's as if
Murray is carried around almost undeliberately by the captivating nature
of Jarmusch's narrative. Sequences involving Sharon Stone and the
wonderful Alexis Dziena (in an explicit homage to Nabokov), the
alienated Frances Conroy and the sparkling Christopher McDonald, and not
to forget the delightful mystique of Jessica Lange all make Broken
Flowers completely irresistible. The multitude of moods Jarmusch
manages to convey during Murray's visits to his former lovers is
impressive. From the warm hospitality of Stone and Dziena to the
estranged coldness of the Conroy/McDonald residence, the enigmatic
Lange, and finally the hostile Hillbillies at Tilda Swinton.
Broken Flowers
is a poetic movie - very symbolic and very rich on imagery. In many
respects, one could make a claim that we're dealing with a more
narratively coherent Mulholland
Dr.: Both films have a lot to offer, are beautifully enigmatic,
and ignites a genial process in the viewer. If you allow it, this
process can be extremely rewarding. That is - if you're not too
dependent on simple answers.
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