Looks like a goddamn religious icon
Kyo Kii... Main Jhuth Nahin Bolta (2001), David Dhawan. June 17, 3pm. View count: One.
Dead Man (1995), Jim Jarmusch. June 18, 11am. View count: four?
Stranger Than Paradise (1984), Jim Jarmusch. June 18, 4pm. View count: One.
Ghost Dog (1999), Jim Jarmusch. June 18, 7:30pm. View count: four?
Kyo Kii... is 'inspired by' that presumably horrible Jim Carrey movie Liar Liar. It's about a lawyer in Mumbai who lies on essentially every occasion, but eventually (like 3/4 through the movie) his child makes a wish that he should only speak truth, and for a day or so he must speak his mind. This mostly means that he insults everyone he knows, and they are sort of touchingly hurt by this, bursting into tears and running out of rooms. Then he learns the meaning of integrity or something, blah blah. Sushmita Sen is the only actor I knew; she was in Aankhen (the story of Amitabh Bachchan paying blind guys to rob a bank) and Biwi #1 (one of my favorites, and a very iconic bollywood example). This was probably better than the original movie, but it wasn't anywhere near the best bollywood remake I've seen.
I decided to hit the Jarmusch today because I am not feeling well, but I am equal to the task of lying semisensate on the couch and watching meandering character pieces with natural dialog and little bits of humor. I love Jim Jarmusch, my one avatar of his cameo in Straight to Hell notwithstanding (I will use it!). I just finished a book of interviews with him, and I learned that his process is a terrific one; invent characters first, and then build around them situations to be in and react to, and then a plot around that (if any). I relate to this pretty strongly, which is probably why I like his work so much. Sadly I had to return the book to the library, or I would quote the passage about him taking the idea of killers wearing white cotton editors' gloves from some older well-respected director, and using it in Ghost Dog.
His use of black leader between scenes is consistent through all three of these movies; it only makes sense. To have scenes butting right up against one another with no breathing room would be so inappropriate. Jarmusch's work always has such a calm pace, with lots of the process of getting from point A to point B; exciting things are all the more surprising in such a structure. His writing has always been a little more than is needed; although it seems as if he insists on realistic delivery, sometimes the lines walk the edge between believable and silly (f'rinstance, the Flava Flav afficionado was pushing it in Ghost Dog). This is usually okay. The man has a sense of humor, and while I like best the dry (Nobody flapping his mouth like a white guy while wearing Blake's hat in Dead Man) and absurd for no reason (Iggy pop wearing a bonnet), the more broad has its place as well.
Jarmusch doesn't move the camera around a lot, and prefers medium-long shots with multiple people in them. It's hard to get a feeling for characters reacting to one another and their environment in nothing but closeups. He's a fellow after my own heart. Not to mention that he's always careful to get private and overseas funding, so as not to be trapped in the american studio horror (and have editing approval and similar rights taken from him). The man does good work. I wish to be just like him when I grow up.
Dead Man (1995), Jim Jarmusch. June 18, 11am. View count: four?
Stranger Than Paradise (1984), Jim Jarmusch. June 18, 4pm. View count: One.
Ghost Dog (1999), Jim Jarmusch. June 18, 7:30pm. View count: four?
Kyo Kii... is 'inspired by' that presumably horrible Jim Carrey movie Liar Liar. It's about a lawyer in Mumbai who lies on essentially every occasion, but eventually (like 3/4 through the movie) his child makes a wish that he should only speak truth, and for a day or so he must speak his mind. This mostly means that he insults everyone he knows, and they are sort of touchingly hurt by this, bursting into tears and running out of rooms. Then he learns the meaning of integrity or something, blah blah. Sushmita Sen is the only actor I knew; she was in Aankhen (the story of Amitabh Bachchan paying blind guys to rob a bank) and Biwi #1 (one of my favorites, and a very iconic bollywood example). This was probably better than the original movie, but it wasn't anywhere near the best bollywood remake I've seen.
I decided to hit the Jarmusch today because I am not feeling well, but I am equal to the task of lying semisensate on the couch and watching meandering character pieces with natural dialog and little bits of humor. I love Jim Jarmusch, my one avatar of his cameo in Straight to Hell notwithstanding (I will use it!). I just finished a book of interviews with him, and I learned that his process is a terrific one; invent characters first, and then build around them situations to be in and react to, and then a plot around that (if any). I relate to this pretty strongly, which is probably why I like his work so much. Sadly I had to return the book to the library, or I would quote the passage about him taking the idea of killers wearing white cotton editors' gloves from some older well-respected director, and using it in Ghost Dog.
His use of black leader between scenes is consistent through all three of these movies; it only makes sense. To have scenes butting right up against one another with no breathing room would be so inappropriate. Jarmusch's work always has such a calm pace, with lots of the process of getting from point A to point B; exciting things are all the more surprising in such a structure. His writing has always been a little more than is needed; although it seems as if he insists on realistic delivery, sometimes the lines walk the edge between believable and silly (f'rinstance, the Flava Flav afficionado was pushing it in Ghost Dog). This is usually okay. The man has a sense of humor, and while I like best the dry (Nobody flapping his mouth like a white guy while wearing Blake's hat in Dead Man) and absurd for no reason (Iggy pop wearing a bonnet), the more broad has its place as well.
Jarmusch doesn't move the camera around a lot, and prefers medium-long shots with multiple people in them. It's hard to get a feeling for characters reacting to one another and their environment in nothing but closeups. He's a fellow after my own heart. Not to mention that he's always careful to get private and overseas funding, so as not to be trapped in the american studio horror (and have editing approval and similar rights taken from him). The man does good work. I wish to be just like him when I grow up.