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Jim Jarmusch
Director / Screenwriter / Producer / Editor
1953 - 
Born January 22, Akron, Ohio, USA
Key Production Country: USA, Japan
Key Genres: Road Movie, Comedy, Urban Comedy
Key Collaborators: Jay Rabinowitz (Editor), Robby Muller (Cinematographer), Isaach De Bankole (Leading Character Player), Tom DiCillo (Cinematographer), Melody London (Editor), John Lurie (Composer/Leading Character Player), Roberto Benigni (Leading Character Player), Frederick Elmes (Cinematographer), Tom Waits (Composer/Character Player), Bill Murray (Character Player)

Recommended: Stranger Than Paradise (1984)*, Down by Law (1986)*, Mystery Train (1989), Night on Earth (1991), Dead Man (1995)*, Ghost Dog: The Way of the Samurai (1999), Coffee and Cigarettes (2003), Broken Flowers (2005), The Limits of Control (2009)
Approach with Caution: Permanent Vacation (1980)
* Listed in TSPDT's 1,000 Greatest Films section.

 
 
 
Links: [ Amazon ] [ IMDB ] [ TCMDB ] [ All-Movie Guide ] [ Senses of Cinema: Great Directors ] [ Film Reference ] [ The Jim Jarmusch Resource Page ] [ A Jim Jarmusch Home Page ] [ Wikipedia ] [ Cinematical: Directors We Love ] [ Guardian Interview #1 ] [ An Interview with Jim Jarmusch ] [ Guardian Interview #2 ] [ Reverse Shot Feature (2005) ] [ IFC Interview (2009) ]
Books: [ Jim Jarmusch (Contemporary Film Directors) ] [ Jim Jarmusch: Interviews
 
Stranger Than Paradise (1984)Down by Law (1986)Coffee and Cigarettes (2003)Broken Flowers (2005)
 
     
  "Blighted landscapes, both urban and rural, form the backcloths to his stories, in which alienated protagonists stare glumly out of the screen until their nemesis, or their destiny arrives. Innovative but rarely entertaining, Jarmusch's films form the back of beyond of American life: a slice of life, yes, but one quite alien to ordinary people." - David Quinlan (Quinlan's Film Directors, 1999)  
     
  "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 - which makes him unlikely to ever join the Hollywood mainstream - 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, so that he remains one of the most accessible, original and influential of that country's independent film-makers." - Geoff Andrew (The Director's Vision, 1999)  
     
  "Jarmusch has a rare feeling for urban desolation, for loneliness, and the sweet, whimsical overlap of chance and companionship. It is gentle, offbeat, and poignant - but does it make whole films? And does it really make a marriage of Jarmusch's leaning toward raw pop culture and SoHo modishness?" - David Thomson (The New Biographical Dictionary of Film, 2002)  
     
  "I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are." - Jim Jarmusch  
     
 
Please note that the rating given for this director (see top-right) is based only on the films we have seen (listed above). Films by this director that we haven't seen include Year of the Horse: Neil Young and Crazy Horse Live (1997).
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"The key to Jarmusch’s success is a well-defined and thoughtfully conceived stylistic approach and a coherent circle of interests. The focal point of all Jarmusch’s work is the apparent contradiction that exists between the popular perception of the American Dream and what that dream actually holds for the individual who doesn’t quite fit in. This contradiction is explored through the interaction of a characteristic ensemble of characters... Like other emerging filmmakers of his generation, such as Spike Lee, Jim Jarmusch approaches the American way of life with a sense of hip cynicism. A product of contemporary American film school savvy, Jarmusch incorporates a sense of film history, style, and awareness in his filmmaking approach. The tradition which he has chosen to follow, the one which offers him the most freedom, is that established by filmmakers such as Chabrol, Godard, and Truffaut in the 1950s and 1960s." - Rob Winning (updated by Rob Edelman), International Dictionary of Film and Filmmakers

 
 
Top 250 Directors
501 Movie Directors: A Comprehensive Guide to the Greatest Filmmakers
 
See Also
Robert Bresson
Alex Cox
Jonathan Demme
Hal Hartley
Werner Herzog
Aki Kaurismäki
Takeshi Kitano
Spike Lee
Yasujiro Ozu
John Sayles
Wayne Wang
Wim Wenders
 
Jim Jarmusch's Favourites
L'Atalante (1934) Jean Vigo, Bob le flambeur (1955) Jean-Pierre Melville, Broken Blossoms (1919) D.W. Griffith, The Cameraman (1928) Buster Keaton & Edward Sedgwick, Mouchette (1966) Robert Bresson, Rome, Open City (1945) Roberto Rossellini, The Seven Samurai (1954) Akira Kurosawa, Sunrise (1927) F.W. Murnau, They Live by Night (1948) Nicholas Ray, Tokyo Story (1953) Yasujiro Ozu. Source: Sight & Sound (2002)
 
 
 
         
         

 

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