Jarmusch humor isn’t usually laugh-out-loud (not for me, anyway). Agree that the third part of the triptych is the least effective, though.
I agree his humor is generally not of the laugh-out-loud variety—more droll, put-a-smile-on-your-face type. But, even on that level, the film didn’t work so well for me. (I really should sit down and think about the film more though, as I suspect I might get more out of it.)
This works for me:
Love this too (it truncates the best part, the end of the shot where Jarmusch lets her walk out of the frame and holds on the view down the street . . . )
Actually, “Mystery Train” may be the Jarmusch film I like the least. Not because of the lack of comedy. It just doesn’t seem to have his piercing insights. Still, it’s a very original and influential film. But for me its bottom-tier Jarmusch. Not a bad film, just one of his least beautiful.
Masatoshi Nagase is one of cinema’s most underrated comedians, both in terms of physical humour and dialogue (the Maiku Hama trilogy, anyone?). It’s obvious Jarmusch recognized that quality in him.
Also, this:
And all scenes involving Hawkins and Cinqué.
@Matt
The two Japanese characters just didn’t work for me—not as much as I think it should have. (shrugs)
Can you explain what you liked about the camera focusing on the street? (I don’t get it.)
@Bobby
I’d be interested in hearing you explain why you think the film was original and influential.
@Wu
Same thing with the Japanese characters—they just weren’t as charming and amusing as I think they should have been.
You know what, maybe I just wasn’t in the right mood. Or maybe I’ll respond better on a second viewing. Even though I didn’t really respond to the characters, for some reason, I like the overall film.
“Can you explain what you liked about the camera focusing on the street? (I don’t get it.)”
The holding on the empty street as she walks out of the frame is related to her emotional state as she’s stuck alone in the city trying to get back to Italy with he husband’s body (as is the ghost that shows up later).
Ah, got it. (I wouldn’t be surprised if I missed a lot more important details from the film. FWIW, I responded to her character the most.)
“Mystery Train” was influential because of its non-linear/non-oneiric structure. Tarantino followed the pattern and popularized it. I think Jarmusch was highly original at that point with his style and people were just beginning to catch on to him.
I don’t know what oneiric means, but don’t you think non-linear filmmaking occurred before then (e.g., CK, It’s a Wonderful Life, etc.)? Or do you mean Jarmusch revived the approach and got other filmmakers interested in it?
I mean this as a special branch of non-linear narratives. “Oneiric” meaning related to dreams. So non-linear/non-oneiric films are those that break chronology without he aid of dreams, flashbacks, or other altered states of consciousness. In other words, objective breaks with chronology rather than subjective breaks. Maybe the best-known predecessor to “Mystery Train” is “The Killing”. I’m sure there are others but this is what I’ve traced so far for American filmmaking as far as the path that leads to “Pulp Fiction” and “Reservoir Dogs”.
and why should Mystery Train make you laugh?
@Bobby
Thanks for the clarification and edification.
Jarmusch has said that he was reading Chaucer at the time and that was the inspiration for the episodic structure.
Chaucer certainly figures in the body of the film as a textual reference.
Jazzaloha
I liked some aspects of the film (the decay of the city) and just the overall “treasure in ennui” approach. But the characters and humor just didn’t work for me, for some reason. (I’m not a huge Elvis fan, but I don’t think that’s the reason.) I didn’t respond to them in the way that I felt the film wanted me to. For example, I sense that the bellboy was supposed to be funny—just his look and his reactions with Screamin’ Jay (who was supposed to be funny, amusing or interesting, but really wasn’t). I had a similar reaction to the interactions between the Japanese couple. The last vignette almost had no appeal to me, as well.
But I haven’t really thought about this film much, so I’m interested in hearing people discuss what they think this film is about. I’d also like to hear people share their most amusing or funny moments from the film.