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| Cast:
Roberto Benigni , Joie Lee , Cinque Lee , Steve Buscemi , Iggy Pop , Tom Waits , Isaach De Bankole , Cate Blanchett , Alfred Molina , Steve Coogan , RZA , Bill Murray |
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| Production:
Smokescreen Inc. |
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| JIM JARMUSH |
| Broken Flowers |
| Coffee and Cigarettes |
| Dead Man |
| Down By Law |
| Ghost Dog: The Way of the Samurai |
| Mystery Train |
| Night on Earth |
| Permanent Vacation |
| Stranger than Paradise |
| Year of the Horse |
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Coffee and Cigarettes
Coffee and Cigarettes
Coffee and Cigarettes |
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USA ,
2003, 95 min, black & white |
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Piping hot and flavored with just the right amount of cream and sugar, Jim Jarmusch’s Coffee and Cigarettes gives bad habits a good name. Consisting of 11 vignettes that the indie icon has written and directed sporadically since 1986 and finally assembled into a surprisingly cohesive whole, this dryly comic ode to wasting time over one more cup elevates shooting the breeze to an art form. Roberto Benigni and Stephen Wright (was there ever a more mismatched lunch date?) woefully misunderstand each other and wind up switching identities, while RZA and GZA from Wu-Tang Clan discuss alternative medicine with Bill Murray, incognito as a waiter who swills Colombian straight from the pot. Iggy Pop and Tom Waits stumble through awkward silences and rue the fact that their diner’s jukebox features songs by neither; Jack and Meg of the White Stripes experiment with a Tesla coil; Cate Blanchett plays herself (sort of) as well as her estranged cousin in a meeting seething with mutual dislike; and Isaak de Bankole, cool incarnate in sunglasses and a sharp suit, tries to no avail to convince his best friend that he really, really doesn’t have a problem. In the film’s most memorable episode, the brilliant English actors Alfred Molina and Steve Coogan hilariously mock their celebrity status. Variously shot by Tom DiCillo, Frederick Elmes, Ellen Kuras and Robby Müller – their luminous black-and-white images perfectly complement Jarmusch’s deadpan gaze – Coffee and Cigarettes is funky, affectionate (especially toward former Warhol superstar Taylor Mead) and far less lethal than its titular combo.
Steven Jenkins
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Jim Jarmusch |
With his trademark shock of white hair and ultra-cool rock star persona, Jim Jarmusch is the archetypal auteur of American independent film. Steadfastly resisting the sirens of Hollywood, Jarmusch has fashioned stylish, worldly, and thoroughly hip movies that have been the toast of the international film circuit.
Born on January 22, 1953, in Akron, OH, Jarmusch was the son of a former film critic for the Akron Beacon Journal. As a child, he spent much of his time watching B-movie triple features. After graduating from high school in 1971, he ended up in New York before venturing to Paris one summer on an exchange program. He loved the place so much that he stayed there for a year, soaking up French culture, literature, and particularly films, spending much of his time going to the cinématheque instead of to classes. At that time, the hallowed French New Wave movement was still a recent memory and such luminaries as François Truffaut, Claude Chabrol, and Jean-Luc Godard were still regularly making movies. Upon his return to New York, Jarmusch transferred to Columbia University, where, though he eventually received a degree in English literature, his love of film continued to inspire him. With no film experience, he was accepted into New York University's Tisch School of the Arts and soon found himself a teaching assistant to legendary maverick filmmaker Nicholas Ray. Ray helped him get funding for his thesis project, Permanent Vacation (1980). Though the film was later released to critical acclaim, his professors were underwhelmed by his final project and Jarmusch never got a degree from N.Y.U.
The stamp of Jarmusch is his tendency to a gently absurdist, understated comedy, which affectionately punctures the cool, hip pretensions and delusions of his self-consciously laconic loners. The compositions are uncluttered, often static and oddly formal, stressing the essential solitude of characters seemingly obsessed with self-definition. The sparing dialogue, generally minimalist performances and a preference for long takes evoke lives plagued by problems of communication, misunderstanding, rootlessness and inertia. At the same time, Jarmusch’s elliptical, dedramatised, episodic narrative style is symptomatic of his restlessly experimental interest in the method and structure of cinematic storytelling. Crucially, however, this interest in formalism is balanced by subtle wit, the warmth he clearly feels for his characters and a bemused, intelligent interest in the unfamiliar backroads of American life (the underrated Dead Man was a decidedly different western), so that he remains one of the most accessible, original and influential of that country’s independent film-makers.
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| 1980 Permanent Vacation |
| 1984 Stranger Than Paradise |
| 1986 Coffee and Cigarettes |
| 1986 Down by Law |
| 1989 Coffee and Cigarettes II |
| 1989 Mystery Train |
| 1991 Night on Earth |
| 1993 Coffee and Cigarettes III |
| 1995 Dead Man |
| 1997 Year of the Horse |
| 1999 Ghost Dog: The Way of the Samurai |
| 2002 Ten Minutes Older: The Trumpet |
| 2003 Coffee and Cigarettes |
| 2005 Broken Flowers |
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