Jim Jarmusch has been a leading director in American independent cinema for the last 25 years and has never compromised his vision. His latest film, “Broken Flowers,” is no exception.
Mainstream fare this film is not, but Bill Murray’s prominence may attract many who would otherwise stay away. Though the movie features Murray and an impressive supporting cast of stars, this is undoubtedly a Jarmusch picture. His tendency to emotionally distance the viewer from the characters can be both effective and ineffective. In this case, it hampers the film. Jarmusch doesn’t allow this problem to result in total failure, but it’s certainly not a success, either.
The narrative centers on Don Johnston (Bill Murray, “The Life Aquatic”), an aging Don Juan who was very successful in computers but is now content sitting on a couch in front of his television. Just as his girlfriend, Sherry (Julie Delpy, “Before Sunset”) — dissatisfied with their non-existent relationship — leaves him, Don receives an unsigned letter informing him he has a 19-year-old son from a previous relationship. When Don’s friend and neighbor, Winston (Jeffrey Wright, “The Manchurian Candidate”), hears this news, he suggests Don visit his former lovers and track down his son. Don is reluctant, but Winston convinces him to go, even preparing a detailed itinerary for Don’s trip. Don begins his journey, visiting four old flames and the gravestone of another.
The encounters between Don and the women unfold as vignettes, which is characteristic of Jarmusch’s narrative style. In fact, all Jarmusch trademarks remain intact. His films are marked by an episodic, elliptical and often slow-paced narrative. “Broken Flowers” complies in this respect. Jarmusch generally maintains a minimalist aesthetic enhanced by stationary, observational cinematography. This technique, aided with long takes, works very well in “Broken Flowers” in establishing Don’s isolation and the awkwardness of his visits with old lovers. The resulting concept of a stranger in a foreign environment is another Jarmusch trademark.
Unfortunately, as previously mentioned, Jarmusch’s inclination to keep his audience emotionally detached from the characters is a trademark that doesn’t work in this film because the protagonist is a man whose head the viewer wants to enter. It’s difficult to understand Don’s state of mind. The nature and purpose of his journey must, in some way or another, affect him on an emotional level, but his thoughts are not transferred to the viewer in any translucent way except in the film’s last few minutes.
One might argue that Murray’s catatonic portrayal is another reason for the lack of emotional connection. Murray gave a similar performance in “Lost in Translation” two years ago, but in that case, his character was clearly a man of many layers and one with whom the viewer could identify. Don Johnston is less vocal and more catatonic.
The rest of the cast — Sharon Stone, Jessica Lange, Frances Conroy, Chloe Sevigny and Tilda Swinton, among others — provides solid support in the little screen time each is given. Most impressive, however, is Jeffrey Wright, who continues to be one of the most underrated actors working today and who is too often stuck in supporting roles. In fact, his character in “Broken Flowers” would make an interesting protagonist for another film. This raises another problem: the vignettes are not interesting. Quirky and offbeat, yes, but they occasionally lack substance. The final scene, however, is very effective — it works from a narrative perspective and resonates emotionally.
While it closes on a high note, “Broken Flowers” does not sustain this measure of quality throughout. Jarmusch has proven himself a talented filmmaker, but his latest film is not indicative of his ability nor does it rank anywhere near his finest work (namely, “Stranger than Paradise” and “Down by Law”). On the other hand, it is refreshing to see Jarmusch continues to stay true to his vision and refuses to turn to formulaic, derivative Hollywood schlock. Jarmusch remains one of American independent cinema’s most important filmmakers.
Grade: C