Throughout cinema history there have been hundreds of examples of how someone has taken an extremely limited budget and made a magnificent thing out of it. Jarmusch's second feature and his first real introduction to the world is one of the best examples of that in terms of both aesthetics and entertainment value. The movie itself is a series of single takes divided by black leader, and never deviates from that form even in places where continuity editing could have been implemented. Indeed, every single shot is a vignette complete with its own beginning, middle, and end, and profoundly understated in simple ways. The seemingly flat black and white cinematography meshes with the wide-angle depth and creates a dynamic frame even though it's typically crowded with objects and characters (even though there are few set-pieces or characters). It looks like point-and-shoot but is so much more crafty than that.
Jarmusch quite clearly wears his inspiration from Ozu on his sleeve and even references Tokyo Story in the dialog. But that said, Stranger than Paradise for me also mixed an acknowledgement of underground cinema such as Andy Warhol's Vinyl for simplicity's sake. In the same way that Vinyl is A Clockwork Orange in two crowded, dimensionless long takes, Stranger than Paradise is its own collection of self-evident virtuosity without the need for glamorous standards, making stars simply because it throws them up on screen, not because they are technically attractive people. In fact, the two main characters Eddie and Willie are kinda goofy looking, and all three main characters could be considered unattractive in their passivity and malaise. On the other hand, this movie, as noted often, is quite hip and certainly holds some Indie credentials (not that this is a bad thing, as it is definitely sincere).
But it's just so smart in its approach. With limited celluloid and limited space, Jarmusch created an amazingly dynamic world. Without continuity editing, he created a very rhythmic and involved series of shots. Without relying on too much movement or action, he created characters of great depth and familiarity. And with low-grade black and white cinematography, he created a world to fit it all into.
There are required viewing movies for classics and required viewing for film history. There are thousands upon thousands of movies that film buffs and film makers should watch or at least keep in mind about getting around to seeing. Stranger than Paradise is one of those I'd eagerly recommend to anyone who likes the thought of making movies but gets overwhelmed by the prospect of getting involved in what seems like such a complicated process. It just goes to prove that something amazing can be made out of something simple with a little forethought and a lot of care.
--PolarisDiB
Jarmusch quite clearly wears his inspiration from Ozu on his sleeve and even references Tokyo Story in the dialog. But that said, Stranger than Paradise for me also mixed an acknowledgement of underground cinema such as Andy Warhol's Vinyl for simplicity's sake. In the same way that Vinyl is A Clockwork Orange in two crowded, dimensionless long takes, Stranger than Paradise is its own collection of self-evident virtuosity without the need for glamorous standards, making stars simply because it throws them up on screen, not because they are technically attractive people. In fact, the two main characters Eddie and Willie are kinda goofy looking, and all three main characters could be considered unattractive in their passivity and malaise. On the other hand, this movie, as noted often, is quite hip and certainly holds some Indie credentials (not that this is a bad thing, as it is definitely sincere).
But it's just so smart in its approach. With limited celluloid and limited space, Jarmusch created an amazingly dynamic world. Without continuity editing, he created a very rhythmic and involved series of shots. Without relying on too much movement or action, he created characters of great depth and familiarity. And with low-grade black and white cinematography, he created a world to fit it all into.
There are required viewing movies for classics and required viewing for film history. There are thousands upon thousands of movies that film buffs and film makers should watch or at least keep in mind about getting around to seeing. Stranger than Paradise is one of those I'd eagerly recommend to anyone who likes the thought of making movies but gets overwhelmed by the prospect of getting involved in what seems like such a complicated process. It just goes to prove that something amazing can be made out of something simple with a little forethought and a lot of care.
--PolarisDiB