Quote:
Director Jim Jarmusch followed up his brilliant breakout film Stranger Than Paradise with another, equally beloved portrait of loners and misfits in the American landscape. When fate brings together three hapless men—an unemployed disc jockey (Tom Waits), a small-time pimp (John Lurie), and a strong-willed Italian tourist (Roberto Benigni)—in a Louisiana prison, a singular adventure ensues. Described by Jarmusch as a “neo-Beat noir comedy,” Down by Law is part nightmare and part fairy tale, featuring sterling performances and crisp black-and-white cinematography by the esteemed Robby Müller.

Jim Jarmusch - (1986) Down by Law.mkv

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Container:  	Matroska
Runtime: 	1h 46mn
Size: 	2.26 GiB
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https://nitro.download/view/5DD40C353985F68/Jim_Jarmusch_-_(1986)_Down_by_Law.mkv

Language(s):English, Italian
Subtitles:English

The post Jim Jarmusch – Down by Law (1986) first appeared on Cinema of the World.

Jim Jarmusch’s first full length film “Permanent Vacation”, is a day in the life of a ‘beat-down’ young fellow, interested in Charlie Parker. He wanders the streets of Manhattan, engaging in detached conversations with likes of his girlfriend, strangers, and his mentally feeble mother. Using lots of long takes, the film takes it time wandering, giving it a humerous candid feel. With a soundtrack and cameo by John Lurie playing a ” vibrating bugged-out” versison of ‘Over the Rainbow’ giving it a jadded ‘beat-jazz’ feel.

Permanent.Vacation.1980.576p.BluRay.AAC.x264-HANDJOB.mkv

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Container:	Matroska
Runtime:	1h 14mn
Size:	1.82 GiB
DXVA:	Compatible
Minimum settings:	Met
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Frame rate:	23.976 fps
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Language(s):English
Subtitles:English,Japanese

The post Jim Jarmusch – Permanent Vacation (1980) first appeared on Cinema of the World.

Quote:
Written and directed by Jim Jarmusch, Coffee and Cigarettes is a collection of 11 vignettes relating to people having conversations about anything while drinking coffee and smoking cigarettes. The film is a collection of 11 shorts, three of which were made prior in 2003 including the 1993 Somewhere in California segment that won Jarmusch the short film Palme D’or at the 1993 Cannes Film Festival. With an all-start cast that includes Roberto Benigni, Steven Wright, Joie Lee, Cinque Lee, Steve Buscemi, Iggy Pop, Tom Waits, Cate Blanchett, Steve Coogan, Alfred Molina, Issach de Bankole, Jack & Meg White of the White Stripes, RZA & GZA of the Wu-Tang Clan, and Bill Murray. Coffee and Cigarettes is fun collection of shorts and vignettes from Jim Jarmusch.

In Strange to Meet You, Roberto Benigni and Steven Wright meet as Wright is nervous about a dentist appointment during a conversation about their love coffee and cigarettes. Twins is about twins (Joie Lee and Cinque Lee) drinking coffee and smoking cigarettes in Memphis as a waiter (Steve Buscemi) tells them his theories about Elvis Presley and his twin brother Jesse. Somewhere in California has Iggy Pop and Tom Waits have an awkward conversation as Waits claims he’s a doctor while Pop offers him a drummer he has just worked with. Those Things’ll Kill Ya has Joseph Rigano and Vinny Vella talking about their vices as Vinny’s son Vinny Jr. asks for money via sign language in an act of silence.

Renée has Renée French drinking coffee and looking at magazine while a waiter (E.J. Rodriguez) tries to serve her. No Problem is about two friends (Issach de Bankole and Alex Descas) talking as Issach keeps asking Alex questions about some issues. Cousins is about Cate Blanchett meeting her cousin Shelly (Cate Blanchett) at a hotel lounge where they talk about their lives as Shelly reveals she has a new boyfriend. Jack Shows Meg His Tesla Coil has Jack White showing Meg the Tesla Coil he had while talking about the brilliance of Nikola Tesla.

Cousins? has Alfred Molina and Steve Coogan having tea in Los Angeles talking about their career as Molina shows him something claiming he and Coogan are cousins. Delirium is about GZA and RZA talking about alternative medicines and the dangers of caffeine where Bill Murray appears drinking a mug of coffee. Champagne is about two old men (William “Bill” Rice and Taylor Mead) talking about nostalgia as the music of Mahler.

The concept of the film is about two or three people having conversations about practically anything while drinking coffee and smoking cigarettes. Throughout each segment, there is a looseness to the story as many of the conversations are improvised where people talk about many things throughout. Whether its about music, art, coffee, cigarettes, Nikola Tesla, anything, or maybe nothing at all. The idea of drinking coffee and having a smoke is something intriguing to Jim Jarmusch throughout many of these shorts that have been created from 1986 through 2003.

Through each short as they’re all presented in black and white with varying running times, Jarmusch is able to keep the camera still and often shooting the coffee and cigarettes. At the same time, he repeats a few motifs and dialogues to keep the all the shorts connected in one way or another. While a lot of the shorts work and a couple like Renée and Champagne don’t work entirely, Jarmusch does create what is certainly a fascinating film.

Helping Jarmusch with his vision are a team of cinematographers, editors, and production designers that get involved in the film throughout the years. With Frederick Elmes shooting a large portion of the material while Tom Di Cillo does Strange to Meet You, Robby Mueller on Twins, and Ellen Kuras for Renée and No Problem. The cinematography from the early parts have a grainy look while it becomes a bit more refined to complement the atmosphere of each section. Editor Jay Rabinowitz doing a lot of the segments while Jim Jarmusch and Terry Katz did Somewhere in California and Melody London doing Twins and Strange to Meet You. The editing is very tight and rhythmic to capture a lot of the conversations while Renée and Champagne kind of meanders a bit.

Mark Friedberg and Tom Jarmusch do a lot of the production design of the film to help set the mood for each segment that is happening while Dan Bishop does the Twins segment. For the sound work, longtime Jarmusch collaborator Anthony J. Ciccolini III does a lot of the sound work and mixing for all of the segments including the remixing for the older segments. The soundtrack is a mixture of music that is played the background though the film opens and closes with Louie, Louie by Richard Berry opening the film and Iggy Pop’s cover closing the film. The rest of the soundtrack includes pieces by Tom Waits, Jerry Byrd, the Stooges, Tommy James & the Shondells, the Skatalites, Funkadelic, and Gustav Mahler.

The cast is truly phenomenal as there’s a wonderful array of performers many of whom are playing themselves or exaggerations of themselves. Notable standouts include Bill Murray, RZA, and GZA in Delirium, Steve Buscemi in Twins, Steven Wright and Robert Benigni in Strange to Meet You, Steve Coogan and Alfred Molina in Cousins?, Iggy Pop and Tom Waits in Somewhere in California, and the White Stripes in Jack Shows Meg His Tesla Coil that features a cameo from Cinque Lee. The best performance easily goes to Cate Blanchett in the Cousins segment as she plays herself and her cooler cousin with long black hair and stylish clothes as it’s a funny, remarkable performance.

Coffee and Cigarettes is an entertaining yet captivating film from Jim Jarmusch. While it may not reach the heights of great films like Mystery Train and Night on Earth as a whole. Some of the vignettes do stand out as great little mini-masterpieces of Jarmusch as a filmmaker who likes to keep things simple and to the point. It’s a film that fans of his work will enjoy where they to get to revisit the older shorts and see some new ones. In the end, Coffee and Cigarettes is a stylish yet enjoyable film from Jim Jarmusch.

Jim Jarmusch - (2003) Coffee and Cigarettes.mkv

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Container:  	Matroska
Runtime: 	1h 36mn
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https://nitro.download/view/203762C5E69739F/Jim_Jarmusch_-_(2003)_Coffee_and_Cigarettes.mkv

Language(s):English, French
Subtitles:German

The post Jim Jarmusch – Coffee and Cigarettes (2003) first appeared on Cinema of the World.

Quote:
With Dead Man, his first period piece, Jim Jarmusch imagined the nineteenth-century American West as an existential wasteland, delivering a surreal reckoning with the ravages of industrialization, the country’s legacy of violence and prejudice, and the natural cycle of life and death. Accountant William Blake (Johnny Depp) has hardly arrived in the godforsaken outpost of Machine before he’s caught in the middle of a fatal lovers’ quarrel. Wounded and on the lam, Blake falls under the watch of the outcast Nobody (Gary Farmer), who guides his companion on a spiritual journey, teaching him to dispense poetic justice along the way. Featuring austerely beautiful black-and-white photography by Robby Müller and a live-wire score by Neil Young, Dead Man is a profound and unique revision of the western genre.

+Audio commentary by production designer Bob Ziembicki and sound mixer Drew Kunin

3.38GB | 2h 01m | 1024×552 | mkv

https://nitro.download/view/E969876CA9D8F20/Dead.Man.1995.576p.Bluray.AC3.x264-LAA.mkv

Language:English,Cree
Subtitles:English

The post Jim Jarmusch – Dead Man (1995) first appeared on Cinema of the World.

Quote:
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.

2.80GB | 1 h 50 min | 1024×576 | mkv

https://nitroflare.com/view/AB2DB80E32B9D11/Mystery.Train.1989.576p.Bluray.AAC.x264-LAA.part1.rar
https://nitroflare.com/view/967CEB41F699824/Mystery.Train.1989.576p.Bluray.AAC.x264-LAA.part2.rar
https://nitroflare.com/view/A6FE013233B71B6/Mystery.Train.1989.576p.Bluray.AAC.x264-LAA.part3.rar

Language(s):English, Japanese, Italian
Subtitles:English

The post Jim Jarmusch – Mystery Train (1989) first appeared on Cinema of the World.

IMDB wrote:

In Jersey City, an African American hit man follows “Hagakure: The Way of the Samurai.” He lives alone, in simplicity with homing pigeons for company, calling himself Ghost Dog. His master, who saved his life eight years ago, is part of the local mob. When the boss’ daughter witnesses one of Ghost Dog’s hits, he becomes expendable. The first victims are his birds, and in response, Ghost Dog goes right at his attackers but does not want to harm his master or the young woman. On occasion, he talks with his best friend, a French-speaking Haitian who sells ice cream in the park, and with a child with whom he discusses books. Can he stay true to his code? And if he does, what is his fate?

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https://nitro.download/view/E0401EEB1E6A0ED/kings-gdwots.cd2.avi

Language:English

The post Jim Jarmusch – Ghost Dog: The Way of the Samurai (1999) first appeared on Cinema of the World.

Jonathan Rosenbaum Review:

When we speak of “seriousness” in fiction ultimately we are talking about an attitude toward death. –Thomas Pynchon

Jim Jarmusch’s Dead Man, a disturbing, mysterious black-and-white western, opens with someone named William Blake (Johnny Depp), a recently orphaned accountant from Cleveland, traveling west on a train with the promise of a job at a metal works in a town called Machine. He keeps dozing off and waking to new sets of fellow passengers, including several who fire their guns out the windows at a herd of buffalo. (Such occurrences were common in the 1870s, encouraged by the government as a means of wiping out Indians by eliminating one of their staples; in 1875, over a million buffalo were slaughtered.)

When Blake arrives at his destination–a nightmarishly squalid settlement of festering meanness and pollution–he’s told derisively by both Dickinson (Robert Mitchum), the blustering, hostile metal-works owner, and one of his henchmen (John Hurt) that they no longer need an accountant, having filled the position some time ago. After repairing to a saloon to spend the remainder of his meager supply of cash on a small bottle of whiskey, Blake runs into a former prostitute named Thel (Mili Avital) selling paper flowers and winds up in bed with her. Later that night Thel’s former lover (Gabriel Byrne)–who happens to be Dickinson’s son–bursts in and, after a brief exchange, shoots her dead and seriously wounds Blake in the chest with the same bullet. Grabbing Thel’s bedside pistol, Blake fires back three times, eventually hitting his assailant in the neck, and makes a clumsy getaway on the man’s pinto after falling out the window.

The first of many violent episodes in the film, this one sets the tone for Jarmusch’s distinctive, unnerving handling of violence. (“Why do you have this?” Blake asks Thel, fingering her gun before her former lover turns up. “‘Cause this is America,” she explains.) Every time someone fires a gun in this movie, both the gesture and its result are awkward, unheroic, even downright pitiful; it’s a messy act devoid of any pretense of stylishness or existential purity, creating a sense of discomfort and embarrassment in the viewer usually expressed in laughter. In this respect, it’s the reverse of the expressionist forms of violence taken for granted in commercial moviemaking ever since Bonnie and Clyde and The Wild Bunch, and recently granted a second life by De Palma, Woo, and Tarantino, among others: Jarmusch refuses to respect or valorize bloodshed. The film is no less honest about the allure of murderers in our culture; as Blake is gradually transformed into a cold-blooded killer, he takes on some of the “legendary” aura of a media star.

The next day in the woods we see Nobody (Gary Farmer)–a Native American outcast who’s half Blood and half Blackfoot–trying without success to remove the bullet close to Blake’s heart with a knife. Despite some mutual problems in understanding each other, they become riding companions. (Nobody, who was once taken as a prisoner to England and is well versed in the poetry of William Blake, is convinced that this Blake is the poet himself; Blake, who’s never heard of the poet, thinks that Nobody is crazy.) Nobody guides Blake through the wilderness toward the northwest coast, in effect leading him toward his own death. As Nobody points out, because the bullet in Blake’s chest can’t be removed, he’s already a dead man, and the remainder of the film is devoted to Blake’s adjustment to this fact. (It may be the most protracted death scene in movies; by comparison, Garbo’s death in Camille is a quickie.) In the meantime Dickinson has dispatched three bounty hunters to bring Blake back dead or alive, and he later offers rewards to various marshals and other bounty hunters. Putting a price on Blake’s head ensures plenty of skirmishes on their trek to the northwest.

***

There are several ways to categorize Jim Jarmusch’s six features to date. There are three in color (Permanent Vacation, Mystery Train, and Night on Earth), and three in black and white (Stranger Than Paradise, Down by Law, and Dead Man); clearly the second group is superior. Some have solitary heroes (Permanent Vacation and Dead Man), and some have clusters of heroes (the other four); the choice between these groups is much harder, because the first includes both Jarmusch’s thinnest and richest work–an apprentice piece and a masterpiece, both about solitude–and the second gives us another sort of movie altogether, minimalist entertainments in a theme-and-variations form.

With the enormous success of his second feature in 1984–Stranger Than Paradise, playing at midnight this Friday and Saturday at the Music Box–Jarmusch became a figurehead for American independent cinema. He’s steadily rejected all Hollywood offers since (echoed in the response of LA taxi driver Winona Ryder to show-biz agent Gena Rowlands in the first episode of Night on Earth) and has cultivated a hip, international art-house reputation by acting in the films of such friends as Alex Cox, Robert Frank, Raul Ruiz, and the Kaurismaki brothers–creating a model for independence that combines the conviviality of the French New Wave with some of the down-home brashness of storefront theater.

Some viewers profess to have found a similar mix in Quentin Tarantino, but as far as genuine independence is concerned, there’s no contest. Jarmusch owns the negatives of all his features–something no Sundance favorite, including Tarantino, can claim. And not even Miramax, the most powerful American art-house distributor, has succeeded in wresting the final cut of Dead Man away from its writer-director–and don’t think it hasn’t tried. By contrast, Tarantino invites Miramax into his cutting room and happily relinquishes final control over his work for the sake of the distributor’s full support. He’s even been rewarded for his cooperation with his own distribution subsidiary at Miramax, Rolling Thunder, whose first two releases were Chungking Express and Switchblade Sisters.

With the help of unabashed Sundance and Miramax supporters like the New York Times’s Janet Maslin–journalists eager to promote film as a business over film as an art, and therefore ready to place the future of cinema in the hands of producers rather than artists–the popular model for so-called American independence has now passed from Jarmusch’s freedom to Tarantino’s servitude. Take a look at the mostly negative American reviews of Dead Man and you’ll see Maslin is far from alone in this bias. Mainstream reviewers nowadays judge even big-budget commercial fare by the same rule-book prescriptions: though Jim Carrey is presumably powerful enough now to make some artistic choices of his own, he’s expected to adhere to the guidelines established in Ace Ventura and The Mask and not take any disturbing risks, as he does in The Cable Guy. (Though in this case the public already seems well ahead of the New York Times and Variety.)

Are we so dependent on movies that come to us exactly where we are–that flatter our current prejudices and enthusiasms and stroke our well-trained reflexes–that we can no longer sit still for movies that require even a modicum of adjustment? In New York, where Dead Man opened six weeks ago, the lack of comprehension–apart from a perceptive rave by the Village Voice’s J. Hoberman and a couple of other reviews–has been close to total. Among the national reviews I’ve seen, David Ansen’s in Newsweek is a welcome relief from the rest. The New Yorker, which has been cluing us in to the high art of Boys and Mission: Impossible in extended reviews, didn’t even bother to review this picture in a capsule; and for all the film’s remarkable literary distinction, one can safely assume the New York Review of Books would sooner waste its pages on the latest Jane Austen film adaptation.

An Existential Western by Jim Jarmusch Starring:

Johnny Depp as William Blake and Gary Farmer as Nobody

The One and Only Robert Mitchum as John Dickinson

… some police marshals …

… and some bandits …

And don’t forget: Chicks dig Dead Man!

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Language(s):English
Subtitles:None

The post Jim Jarmusch – Dead Man [+Extras] (1995) first appeared on Cinema of the World.