Directed by:
Jim JarmuschScreenplay:
Jim JarmuschCinematography:
Frederick ElmesComposer:
Mulatu AstatkeCast:
Bill Murray, Julie Delpy, Brea Frazier, Jeffrey Wright, Meredith Patterson, Ryan Donowho, Alexis Dziena, Sharon Stone, Frances Conroy, Christopher McDonald (more)VOD (1)
Plots(1)
The film tells the story of Don Johnston (Bill Murray), a man overflowing with wealth but void of emotion. On the day that his most recent girlfriend (Julie Delpy) has given up on him for good, he learns, through an anonymous letter, that he might be the father of a 19-year-old boy. Spurned into action by his wannabe private eye neighbor, Winston (Jeffrey Wright), Don sets off on a personal journey to visit the former partners who may or may not have mothered his child. They include the flighty Laura (Sharon Stone), whose daughter Lolita (Alexis Dziena) certainly lives up to her name; the uptight Dora (Frances Conroy), who has settled into a sterile life with her chipper husband, Ron (Christopher McDonald); the strangely distant Carmen (Jessica Lange), who makes a living as an "animal communicator;" and, finally, Penny (Tilda Swinton), a hard-edged biker who is the least happiest to see Don. Each confrontation leaves Don feeling more lost than the last, spinning him into an even greater state of apathetic confusion. (official distributor synopsis)
(more)Reviews (7)
The concept may be schematic and worn out, but the screenplay is exceptionally well-developed. The melancholic, slow-paced atmosphere is masterfully crafted by the straightforward storytelling of Jim Jarmusch, while Bill Murray's performance is tragically comedic and truly masterful... I got a warm feeling from the fact that the film I just watched gave me hope that even though I am 30 years younger than the main protagonist, my life doesn't have to be devoid of meaning. The detective plot, which pokes at the hearts of classic private eye enthusiasts, is brought to a satisfying conclusion. Along with its openness and philosophical undertones, it offers hope even to the most stubborn pessimists.
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The most stereotypically constructed tragicomedy about a man who doesn't seem to exist. Bill Murray essentials spends the entire runtime wearing only one grimace, yet he tells us everything important from the story of the resigned Don Juan. Who is surprised by this? Jarmusch subordinates the rhythm of the edit and the composition of the shots to the main character. Everything repeats itself, drags, cycles, looks absolutely unobtrusive. Sometimes, the editing is very funny. The individual situations appear deliberately surreal. The whining music feels like it is from another world. The Broken Flowers in the vase actually tilt and wither as they see fit. And I really like it.
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Again Bill Murray just sits there gazing. And again you wouldn’t hesitate to give him an armful of the highest acting awards. Jim Jarmusch, as if just by the by, almost indifferently filmed another in a row of seemingly uninteresting stories. And again it’s a success. Although it defies all logic, and although you might expect it to be a barely bearable artsy farce, the magic is there again. I don’t understand why, but I really enjoy it. Jim is simply a god and the category “actor" is too small for Bill. He must be something higher.
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The success of some movies is a bit of a mystery to me. Broken Flowers received praise from film critics, and enjoyed success at film festivals and among viewers. That's why I was surprised at how inconspicuous and unexceptional this film is, considering the abundance of other films from the American independent scene. It's not a bad film, definitely not - it's just that in the careers of everyone involved, from the director to the last actor, there are better films. Broken Flowers is neither avant-garde nor provocative nor attractive nor exceptional. The main character, Don Johnston, is also not well-written. I didn't believe in his numerous love affairs and his resourcefulness, and he didn't exude any leftover charisma or mischief in his behavior. This is the resigned, dull man who was recently left by his lover for stagnant adolescence? On the other hand, Broken Flowers does have a great cast and performances, a nostalgic mood, and mild, unintrusive humor. Overall impression: 60%.
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I never really related to Jarmusch much (based on my experience with the poser-like Dead Man), but thanks to Broken Flowers and especially through his vampire fable Only Lovers Left Alive, I know he has a sense of humor. It's just not humor for everyone. So what's so wonderful about Broken Flowers? Bill Murray, of course. And the whole cohort of beautiful mature women. The tender Julie Delpy, the very sexy Sharon Stone, the fragile Frances Conroy, the refined Jessica Lange, and, last but not least, the wild Tilda Swinton. One can imagine a wonderful parallel to today's The Private Life of Don Juan. I only rarely share the feelings prescribed in the directing explication. I like slow-fading films.
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Like in real life. Mine, yours, anyone's. You don't have to be a bachelor who sits around and sweats most of the day to understand what this Don (Juan) Johnston is doing. Broken Flowers is a film in which almost everything is minimalist - the script, the direction, Bill Murray's performance... Yet it still has more to say than many others.
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The film that literally enchanted me with its poetry, the way it captures the human (completely naturally) and how perfect the individual characters are. The civilian acting of great actors is fantastic, and Bill Murray is simply enchanting. Although it is not primarily a comedy, but actually a rather depressing view of one's life, in which a person hasn't left much behind, in the end you realize that this is actually a beautiful film about how everyone has the life they make for themselves. And it's up to each person whether they regret or not what they have experienced and done.
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