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Stranger Than Paradise
R1 - America - Criterion Collection Review written by and copyright: Noor Razzak (19th September 2007). |
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The Film
 Jim Jarmusch's "Stranger than Paradise" started out as a 30 minute short film back in 1982 and was later expanded into feature-length with three very distinct acts the first entitled "The New World" and takes place in New York City introduces the characters, the second act entitled "One Year Later" which takes place in Cleveland and finally the third act entitled "Paradise" which sees are characters travel to Florida. The film was independently produced for a budget around $100,000 and using left over film stock from a Wim Wenders film. Shot in black and white and adopting a minimalist style Jarmusch started a new chapter in American Independent production, a revival of the spirit not seen since the days of John Cassavetes. In essence Cassavetes started the American Independent movement and Jarmusch carried it on into the 1980's. "Stranger than Paradise" became a festival darling (The film won the Camera d'Or for Best Film Feature at the 1984 Cannes Film Festival), introduced the world to a new voice in American cinema and inspired many would-be filmmakers to get out there an actually make a film, Kevin Smith included who was quoted as saying "you watch Stranger, you think 'I could really make a movie'" (from the book "Spike, Mike, Slackers and Dykes" by John Pierson). "Stranger than Paradise" follows hipster Willie (John Lurie) as he plays host to the unexpected arrival of his cousin Eva (Eszter Balint) from Hungary. Eva stays with Willie for 10 days before she can go to Cleveland to live with their Aunt Lotte (Cecillia Stark). A year later, bored and directionless Willie and his friend Eddie (Richard Edson) decide to go on vacation and visit Eva in Cleveland then out of the blue decide to take Eva and travel to Florida where Willie and Eddie loose almost all their money on the dog races. The first thing that strikes you about "Stranger than Paradise" is the film's style and pace, the minimalist approach to each scene, the long takes (often scenes are contained within a single shot) with no camera movement and with stark and often bleak black and white photography. Jarmusch successfully combines European filmic sensibilities amid an American backdrop, the film's style and pace is akin to a fusion between Cassavetes and the French New Wave. And in many respects this style is very much dictated by the Independent nature of the film and its low budget, which is partly makes up the appeal of the film. Another striking element about this film is the unusual casting choices, which isn't all that unusual in a Jarmusch film. Primarily I'm talking about John Lurie who plays our lead Willie not only has a very unconventional look about himself is in fact not an actor but a musician (he's was a member of the band The Lounge Lizards). His acting style is naturalistic and keeping in tone with the film also minimalist in the execution. His persona captures the 1980's New York hipster so well you forget you're watching a narrative film; it's almost documentary-like in its realism. Matched with the long takes and static camera set-ups watching this film feels like a voyeuristic experience. As mentioned before the film was shot in black and white on Super 16mm film by cinematographer Tom DiCillo, despite being in black and white lighting techniques are utilized to create a tonality to the three locations in this story : for example the photography of the New York scenes appear harsh lending a gritty realism to 1980's New York, additionally the Cleveland scenes add a further austerity to the frigid winter climate and finally the scenes in Florida appear brighter and thus feels warmer. "Stranger than Paradise" is best described as a film snob's movie much like almost anything from the French New Wave, films like "Paris, Texas" (1984) or just about anything by Federico Fellini. Additionally the long singular takes and meandering pace combined with the ironic ending will probably leave most mainstream audience frustrated and bored. One element annoyed me personally and that was the use of the Screamin' Jay Hawkins song "I Put a Spell on You" which if I hear one more time, I'm likely to punch my fist through a wall. "Stranger than Paradise" is one of those films that has limited appeal, if you're already a fan of Jarmusch's style then picking this up is a no-brainer, newcomers be advised this film is not for everyone so a rental is advised before purchase.
Video
Presented in a widescreen ratio of 1.78:1 this anamorphic transfer is a new restored image authorized by the director. The film was shot on Super 16mm, which is a much grainer stock of film than 35mm and as a result sharpness is compromised. The image is very grainy, but true to the film and its style. The black and white image is competently presented, blacks are fairly solid and whites appear clean and crisp with acceptable grey tones. Specks and dirt are sporadic, the majority of the print appears clean and the Criterion Collection seem to have done a decent job with this film in presenting it as the filmmaker intended.
Audio
A single English Dolby Digital 1.0 mono track is included, this is the film's original soundtrack which has been cleaned up for this DVD removing any flaws such as hiss, pops or drop outs. The film is primarily dialogue based and like the film itself the soundtrack is also minimalist with emphasis on dialogue and on a handful of occasions on the music. As expected the track lacks any depth and is directed mainly at the center speaker. Optional subtitles are also included in English for the hearing impaired.
Extras
First up is Jim Jarmusch's debut feature film "Permanent Vacation" (1980) which runs for 74 minutes 53 seconds. The film follows Allie (Chris Parker) is a twenty-something living in New York trying to find meaning in his life and meets a series of interesting characters along the way. The film follows the same tone and pace as Jarmusch's other films and provides the template for his style. The film isn't as interesting as "Stranger than Paradise" but worth checking out as there are some humorous moments spattered about and interesting characters as well. Next up is "Kino '84: Jim Jarmusch" a German TV special the special runs for 41 minutes 51 seconds and was produced by Martina Müller in 1984 where she traveled to New York to meet with Jarmusch as well as producer Sara Driver, director of photography Tom DiCillo and actors Chris Parker, John Lurie, Richard Edson and Eszter Balint. The feature takes a look at Jarmusch's first two films, the formation of the idea for each film as the participants share their thoughts and experiences working on low budget films and taking risks due to the lack of money, they share memories from the set while watching footage from the films including some humorous moments that nearly halted production on "Permanent Vacation". The clip takes a look at the locations and the actors share their perspectives on the film and characters they play among other things. Following that is "Some Days in January 1984" a silent Super 8 film which runs for 14 minutes 40 seconds and was shot by Jim's brother Tom during the production, while the cast and crew were in Cleveland. The footage isn't in great condition and would have benefited a commentary by Jarmusch. Also featured on the disc is the original American theatrical trailer which runs for 2 minutes 42 seconds as well as the original Japanese theatrical trailer that runs for 2 minutes 8 seconds. Rounding out the extras is a hefty 44-page liner notes booklet featuring the following insightful essays and reprinted articles on Jarmusch and his two early films: - "Some notes on Stranger than Paradise" by director Jim Jarmusch - "Enter Jarmusch" essay by film programmer Geoff Andrew - "Paradise Regained" essay by film critic J. Hoberman - "Americana, Right and Wrong" essay by film critic J. Hoberman - "Love Among the Ruins: Permanent Vacation and Jarmusch's New York" essay by author Luc Sante - "My Lost City" essay by author Luc Sante
Overall
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