© 2016 by James Clark
Broken Flowers, the Jarmusch film from 2005, has introduced, quite startlingly for a project concerning crushing problematics, a figure who is not hopelessly lost. Carmen, the “animal communicator,” whom protagonist Don regards as having lost her once impressive (to him) rational acuity (as a lawyer), sends him on his way as understood to be a total waste of her time. What makes her so sure of this? The actions of Lone Man, in the film, The Limits of Control (2009), contribute to that understanding, though his career has much more in common with that of the contract killer, Ghost Dog, in the 1999 Jarmusch production of the same name.
Over the past several postings, I have highlighted recurrent pluses and minuses enacted in this filmmaker’s work (and recurrent performers), in witty and heartfelt scenarios, for the sake of awakening viewers to a dilemma like no other, and which would sustain the essential drama far beyond the theatre. Once again, as we get to the nub of The Limits of Control, these currents must be shown in action. But here, instead of concentrating almost entirely upon detailing patterns and personas amid socio-economic preoccupations in the service of reiterating that life on earth is not nearly as lively as it could be, we’ll also look to the cinematography, visual and sonic design and performance as marshalled as never before in a Jim Jarmusch film, in order to embrace the love and ruthlessness evinced by Carmen, and being given a go here by a flamenco troupe, an always-nude hooker and a killer devoted to tai chi. (A very significant shift in sensual delivery appears in the form of the camera work of the brilliant exponent of mood, Christopher Doyle—having lifted many viewers of major works by Wong Kar Wai—replacing here the tenure of Robby Muller, Jarmusch’s long-time stalwart on behalf of kookiness.) (more…)