Down By Law (1986)

Jim Jarmusch has always been seen as an effortlessly cool director, with cool films, cool collaborators, cool soundtracks and cool characters. 'Down by Law' is no different, featuring Tom Waits, John Lurie (possibly the coolest guy to ever make films) and Roberto Benigni as three cellmates who go on the run.

The film begins in the extremely cool New Orleans with Zack (Waits), a cool radio DJ whose lost his job and fallen afowl of his woman (Ellen Barkin). Simultaneously, Jack (Lurie) is a cool pimp, who has stirred up a rivalry with an associate. Both men are subsequently set-up by different men, caught by the law and then, in the first of many elliptical jumps, find themselves in prison together. The two men are so similar, not only in name but also in their laconic nature, arrogant innocence and disinterest, that they naturally rub up against each other. It's only when Bob (Benigni), an Italian with a notebook of English phrases is added to the mix that they have someone else to focus their frustrations on. Bob is irrefutably optimistic and lively (Benigni just about bareable with his loud, goofy behaviour) and the others can't help but get caught up in his sunny outlook. The irony is that Bob, despite being the most naive, is actually guilty of killing a man, perhaps helping to improve his status amongst the others. When Bob suggests he has a way of escaping, they go for it. Again, in a big jump, they are suddenly out and on the run - and completely lost. Here, again, Zack and Jack rub up against each other regarding leadership and the right direction to travel in. The result is probably the least expected but quite Jarmuschian, when they find an unlikely ally.

The film fits firmly with Jarmusch's early works in its slow paced, static camera style, which observes the characters from a distance rather than attempting any subjectivity. The closest ally is Jarmusch's debut feature-proper (discounting 'Permanent Vacation'), 'Stranger Than Paradise', which kickstarted the American New Wave which ended with Pulp Fiction but brought us directors such as the Coen Brothers, Steven Soderbergh, Spike Lee and Quentin Tarantino. That film was noticeable for its almost immobile camera, lack of action and easy going, disinterested characters. 'Down by Law' may have a little more action, when the trio are escaping, but they never really run that fast, and the camera is always in a suitable to position to watch them pass. The tension only arises with the soundeffect of dogs barking, getting closer, but Jarmusch never cuts away from the main action, never disturbs the chronology and never adds tension through cinematic technique in order to help the audience identify with their situation. At all times we remain as detached as the characters themselves.

The soundtrack is excellent, with opening and closing songs from Tom Waits and incidental music supplied by John Lurie, who played saxophone in the band, Lounge Lizards, an effortlessly cool jazz band. The black and white cinematography by Robby Muller is crisp and moody, with most of the action taking place at night and the editing is simplistic and efficient. The general feeling of the film is of detachment. It doesn't mean anything, there are no hidden themes or motivation for making it. There is no great experimentation of form or technical advancement. It's just a really enjoyable, cool film, and I love it.