Jim Jarmusch: Reflecting the History of Independent Films in America Essay

Films, just like people, possess colorful history. Its origin can be rooted as early as 1860s when devices to capture motion pictures were invented. The year 1888 marked the making of the world’s earliest film—the Roundhay Garden Scene—by Louis Le Prince. But early filmmakers felt no contentment in silent and black-and-white films. Thus, the succeeding movies slowly gained narratives, followed later on by musical scores, inserted with sound effects, and then became colored. However, the evolution of film never ended there. During the late 1970s and early 1980s, another milestone in filmmaking took place—the birth of independent films. One of the most- acclaimed and popular indie film directors in the United States who made a great impact during that time is Jim Jarmusch. Until now, his films are regarded, not only in America but also in European and Asian countries, as some of the finest independent films ever made. His life and works became an inspiration and model for other filmmakers and film critics, which probably caused Juan Suarez’ to write his biography. About the Book Jim Jarmusch ( Contemporary Film Directors), the title of Juan Suarez’ book, in a biographical sketch of the American director Jim Jarmusch, not merely narrating the latter’s life, influences, works, and achievements, but analyzing as well the content and themes of his films by relating them to history and socio-political issues present during these films were created. Summary: A Stranger Here Myself The introductory paragraphs of the book talk about the salient characteristics of Jim Jarmusch’s films. Jarmusch is known for his unique style— emphasizing slow- movements, minimalistic space, characters’ exploration, intimate scenes, cynical humor, blank effect, and art cinema during 1960s to 1970s. His characters are often distant from the spectators, alone and aloof, but not necessarily sad or tragic. His plots, on the other hand, are based more on non- dramatic situations rather than on conflicts. In addition, Jarmusch focuses on the visual and aural aspects of film. Meanwhile, the themes of Jarmusch movies are based on postmodern politics, specifically on issues of transients and immigrants. He is also fascinated in exploring ethnicity, nationality, and social classes. Juan Suarez then enumerates his objectives in writing the book. First is to analyze what makes Jim Jarmusch’s films distinct, and second is to analyze those films in a larger context, separate from the director, using them in understanding historical developments, such as the New York vanguards, rock n’ roll, punk, hip hop, Beat literature, postwar art and cinemas, structural films, European surrealism and others. Akron/ The Cinematheque/ Lightning over Water This particular section discusses about the early life and works of Jim Jarmursh, as well as his early influences. The above keywords—Akron, The Cinematheque, and Lightning over Water—all played a vital role in his life. Jarmusch was born in Akron, Ohio in 1953, which by then is an important industrial point. Here, he was immensely exposed to rock n’ roll, radio DJ’s, and cars that eventually became appeared in his films. After studying college in Columbia, he went to Paris where he was exposed to Henri Langlois, founder of the art gallery Cinematheque. Langlois was also one of Jarmusch’s influences and who was known for his participation in the French New Wave. When he went back, Jarmusch enrolled at New York University where he was appointed as a student assistant to Nicholas Ray. With this, Jarmusch was exposed in Ray’s ongoing film The Lightning over Water. Right after this, Jarmusch made his first film, Permanent Vacation. His early influences were reflected in this particular work—â€Å" classical American cinema, European art, and downtown experimental culture † ( Suarez, p. 9). Downtown Post-Pop The section tackles downtown New York being a topic in Jarmusch’s films, particularly during the mid-1970s and early 1980s. Experimental art during such times was still a combination of pop, minimalism, and performance; experimental cinema, on one hand, focused more on narratives and social contextualization. In addition, Suarez included in this section the status of experimental art in various fields, as well as the people concerned (i. e. The Kitchen). Punk The author particularly discusses in this section Jirmusch’s contribution in the blurring of boundaries between experimental art and mass art. His made his works through the punk or new wave culture, particularly focusing on the role of music. Punk filmmakers introduced again the use and role of content in experimental films by utilizing â€Å" pastiched film noir, thrillers, exploitation and television serials † (Suarez, p. 17). Most of these films were rooted on the themes tackling trash culture and rock n’ roll: the 1960s underground. Venues of these films, on the other hand, were taken inside downtown clubs such as Mudd, Club 57, and Max’s Kansas City. With the loud sound offered by the nightclubs, experimental films became known for the following characteristics: encouraging spectators to be distracted by loud music, dancing, drinking, and socializing, rather than to be in full concentration when viewing. Similarly, the characters were mostly punk musicians such as John Lurie, leader of Lounge Lizard, for the film The Offenders. Jim Jarmusch, in fact, was a member of the band Del Byzanteens. Pretty Vacant Although Jarmusch tried to disconnect punk scenes from his films Permanent Vacation and Stranger than Paradise, he nevertheless acknowledged the influence of punk culture in his filmmaking. Permanent Vacation was made possible through the money granted to him by the Louis B. Mayer Foundation. Because of its length, the film was turned down when Jarmusch presented it as his graduation project. The movie explores the life of Allie, â€Å" a tourist on a permanent vacation † (Suarez, p. 21). The story was told in first-person point- of- view. Allie was recounting his remaining days in New York before leaving for Paris. Here, he narrated his intentions for his girlfriend Leila, visited his mother Ruth who is in psychiatric hospital, met several friends and acquaintances, and stole a car. The movie is said to be an early manifestation of Jirmusch’s navigation towards magic realism that will be evident in his future films, infusing fantasies and dreamlike features in the story. For example, Allie first speech was: â€Å" I can’t get any sleep†¦I have my dreams while I am awake. † ( Suarez, p. 22). This statement clearly shows the blurring of reality and dreams in the said film. Even the music used in this particular film was somehow eerie and creepy, composed mainly of Javanese gamelan music. In addition, most scenes were static takes and focused on minimalistic details. This style presented in the Permanent Vacation is truly characterized by Jirmusch’s unique way of blending minimalism, stories of outsiders, downtown themes, and â€Å" stylized narratives that subtly blend the real and the unreal †(Suarez, p. 27). Work Cited Suarez, Juan Antonio. Jim Jarmusch Contemporary Film Directors. USA: University of Illinois Press, 2007