Monday, September 26, 2005

I suppose it's accessible mainly in the plot. Very straight-forward episodes trying to find who wrote the letter (the letter conceit could be the starting-off point for a Hollywood romantic comedy). There is even the coincidence of the boy looking for his father which seems like a very Hollywoodesque convenient plot turn though it of course doesn't turn out that way. Also the desperation-of-the-suburbs theme, though somewhat refreshing in BF because of the indecisiveness of it. And, Nate, you're right the sparse use of music is fairly a-typical here, as well as the very patient pacing. Of course even that seems as if Jarmusch is channeling the New Wave (if they were all actually dead.) Over all, I think it all works really well but is just more accessible. I almost wondered if this was a conscious choice to hit a larger audience, but from Nikki's parents' reaction it failed if it was. I think the relative tameness of it turned off many of Jarmusch's regular audience though. Still I liked it.


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