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Stranger Than Paradise 1984 123movies

Stranger Than Paradise 1984 123movies

Oct. 01, 198489 Min.
Your rating: 0
7 1 vote


#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – A self-styled New York hipster is paid a surprise visit by his younger cousin from Budapest. From initial hostility and indifference a small degree of affection grows between the two. Along with a friend, they eventually end up visiting their aunt in the wastelands of Cleveland and then proceed to Florida where they lose all their money gambling before unwittingly gaining a fortune.
Plot: Rootless Hungarian émigré Willie, his pal Eddie, and visiting sixteen-year-old cousin Eva always manage to make the least of any situation, whether aimlessly traversing the drab interiors and environs of New York City, Cleveland, or an anonymous Florida suburb.
Smart Tags: #road_movie #independent_film #snow #new_york_city #cult_film #low_budget_film #national_film_registry #winter #jazz #loneliness #black_and_white_images #existential_poetry #male_body #young_man #burlesque #black_comedy #in_search_of_life #female_male_relationship #written_by_director #houseguest #watching_football_on_tv

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The Mundanities of Life
Life is strikingly uneventful for Willie, played by renaissance man John Lurie, who refers to himself as a hipster and lives in New York City, and his interactions with his Hungarian cousin Eva, played by avant-garde actress-musician Eszter Balint, and his best friend Eddie, played by yet another actor-musician Richard Edson, who dresses exactly like Willie. Indeed, both males are swarthy with hook noses and fedoras. They have such little interest in or knowledge of anything that their eventual vacation is no different from home.

The quirky way to three-act story format is a succession of single-shot scenes punctuated by black leader, and the clear-cut partition of the story into three straightforward, facetiously named episodes. Yet there are other ceremonial characteristics of substance: Tom DiCillo’s black-and-white camera work, which provides Jarmusch’s acute impression for the American panorama; and the arresting appliance of music, which favorably apposes Screamin’ Jay Hawkins’s I Put a Spell on You with the folksy tinges of John Lurie’s score for string quartet. This is definitely a road movie, but one with a distinction: Different from most instances of the then still immensely fashionable genre, Stranger Than Paradise appeared simultaneously comprehensively American and strangely European.

The oddly enlightening aggregate of involvement and reserve may be found in the film’s lovingly absurd view of Willie’s chic affectations, its quaint posture toward some of the inanities of American culture and in the way it harmonizes a decidedly American genre and decidedly American plot—if a narrative as gravely sparse and as concentrated on dead moments may be dubbed a plot—with all form of un-Hollywood expression. The look, rhythm, cast and mainly dismal feel bring to mind not The Blues Brothers, or even the rather subdued Last Detail, but the beginnings of the degree of minimalism to which Jarmusch would take his later work.

However he also loves various attributes of popular culture. See how Willie and Eva watch Forbidden Planet on TV or go with Eddie and Eva’s discouraged fancier to see a bone-crunching Hong Kong martial-arts flick at a Cleveland grindhouse, and lets them neighbor more virtuous aspects of his films, in such a way that there is no discrepancy between high and low. And it’s for that scarce but wholly judicious mindset that Jarmusch is to be particularly noted. It’s doable to distinguish his connection with a gamut of later American indie directors, specifically in his desert drollery, his passionately entertained captivation with slackers of sundry kinds, his concern with sequential framework, his affinity for severely subdued stories, and his clever, antiquated references to popular culture. All these, at a time scarce in American cinema, are now pretty ubiquitous. But the rhyme, the unabashed regard for cinema as a quality, production, expression, a realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance, even the mundanities of life and the most everyday scenery possible, that can confront crucial, important matters is far more difficult to come across.

Considering, in the end, no matter how amusing, stylized, minute or insignificant his films may strike one at first, they are always about something. For all his cinephilia, they’re inspired not, like Tarantino and Rodriguez, by other movies, but by life: by real people, encountering real feelings. And while this black-and-white deadpan pop culture satire may be a comedy, an dissection of cinematic storytelling, and a thoroughly cynical yarn, it’s also a film about America and the people who live there. It’s about those people’s connections to each other, and their connections to the rooms they populate, the city streets, the suburbs, diners and highways. And it’s made by someone who knows there may be reality in abstraction, who finds a visceral alliteration separating a snow-coated Lake Erie and a barren Florida beach, and who fashions an implausibly true character like Aunt Lotte, always jabbering to her tender company in Hungarian, whether they’re listening or not.

Review By: jzappa Rating: 8 Date: 2009-09-11
Existential quandary
Stranger Than Paradise begins with Hungarian Eva immigrating to America where she stays with her cousin Willie for ten days in New York City before heading to an older relative’s place in Cleveland, Ohio. Willie is ashamed of his Hungarian heritage and is resentful of Eva’s stay which was intended to be much shorter. Eva ignores his rude behavior and the two eventually begin to bond. A year later Willie and his goofy friend Eddie borrow a car to visit Eva in Cleveland in spite of their lack of interest in the area. From there the trio sets off on vacation to a Florida paradise that never quite materializes.

Although transients and others who are uncomfortable with their environments appear frequently in the films of Jim Jarmusch to this day, the theme of impermanence is particularly evident in his early work. His student film Permanent Vacation is about a man who slowly says goodbye to his home city before fulfilling the promise of the title, Mystery Train is a film set in Memphis with hardly any characters who have spent much time there, and Night on Earth takes place almost entirely in moving motor vehicles.

Thus it’s no surprise that none of the three main characters in Stranger Than Paradise shows any intention to acquire a steady job (or any job at all in the case of the male characters) or any reluctance to take an extended leave of absence from his or her normal life. These characters have a price to pay for their freedom, however: although they aren’t tied down in any one place everywhere they go seems to be the same as the last place they were in. The areas they inhabit in New York, Ohio, and Florida are progressively less urban but they all look equally drab and uninviting; even the beach they visit looks utterly cheerless. These are characters whose hang-ups have nothing to do with their surroundings; they’re going to find the same experiences no matter where they go because they have walled themselves into a perfectly insular world where they’re free to behave the same way all the time and enjoy the same limited pleasures and discomforts. This is why Willie is just as unwilling to take Eva out with his friend in Florida as he is in New York. This isn’t lost on the characters, however, as Willie responds to Eddie’s complaint that even in a new place “everything looks the same” with three words: “No kidding, Eddie.” While Eddie is barely bright enough to recognize their situation, Willie is too apathetic and arrogant to attempt to change it. The only character who ever seems to make a conscious effort to break free from the Sartrean purgatory they have slipped into is Eva, whose motivations tend to be hidden behind her inability to communicate with her self absorbed companions. She’s as ineffectual as she is enigmatic, however, as ultimately even her most impulsive actions fail to bring about any meaningful change.

Writer/director Jim Jarmusch does an excellent job of capturing the existential quandary of his characters through careful choice of locations and aesthetics. His camera tends to be still and his shots tend to be long; in fact the characters almost seemed to be trapped within the camera frame in many shots. Perhaps his most notable accomplishment in Stranger Than Paradise is his ability to capture locations that give a sense of disparate geography but still maintain a coldly similar atmosphere consistently. With only his second feature film Jarmusch was already beginning to find his own cinematic voice.

Review By: timmy_501 Rating: 8 Date: 2010-07-28

Other Information:

Original Title Stranger Than Paradise
Release Date 1984-10-01
Release Year 1984

Original Language en
Runtime 1 hr 29 min (89 min)
Budget 0
Revenue 0
Status Released
Rated R
Genre Comedy, Drama
Director Jim Jarmusch
Writer Jim Jarmusch, John Lurie
Actors John Lurie, Eszter Balint, Richard Edson
Country United States, West Germany
Awards 9 wins & 3 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 1.85 : 1
Camera Arriflex 35 BL, Zeiss Super Speed Lenses
Laboratory DuArt Film Laboratories Inc., New York, USA
Film Length 2,422 m (Sweden)
Negative Format 35 mm (Eastman Double-X 5222, 4-X 5224)
Cinematographic Process Spherical
Printed Film Format 35 mm

Stranger Than Paradise 1984 123movies
Stranger Than Paradise 1984 123movies
Stranger Than Paradise 1984 123movies
Stranger Than Paradise 1984 123movies
Stranger Than Paradise 1984 123movies
Stranger Than Paradise 1984 123movies
Stranger Than Paradise 1984 123movies
Stranger Than Paradise 1984 123movies
Stranger Than Paradise 1984 123movies
Original title Stranger Than Paradise
TMDb Rating 7.2 350 votes

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