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Broken Flowers
Broken Flowers is a slow, subdued affair that wouldn't catch your eye if it was on in your living room. In a cinema though, it comes alive and turns into a carefully crafted chronicle of an episode in a hangdog's life. Good job Bill Murray was free then.
Broken Flowers is not for the masses - it's slow and reflective with no excitement whatsoever - but it's better than Lost in Translation and will easily hold your interest if you're into subdued movies like Solaris or Sideways. I liked it a lot. I enjoyed this film: I think the average moviegoer will enjoy it: Testosterone Satisfaction Rating: - one very impressive moment of nudity by Alexis Dziena, some effing. To enjoy this film you should: not need fireworks for your kicks.
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Your commentsThe comments printed here are not necessarily the views of Forwardcharm!
If you're a Bill Murray fan and expecting the comic performances of Groundhog day or Ghostbusters or the gangster send-up in Mad Dog and Glory, think again. Imagine the droll performance as Hoffman's sidekick in Tootsie, but even more so. Murray's minimalistic acting in this film is really to convey his character as a burnt-out Don Juan. That said, although the film appears slow-moving and the storyline simple, the 1hour 46minutes goes very quickly as you are drawn into his quest for the mysterious writer of the pink letter, and one is left with a thought-provoking conclusion. The film is also supported with an impressive list of stars in the cast.
I'm off to see this film again tomorrow? Why? because I went to see it last week without having read any reviews. Had I done so, I would have realised that it's not a mystery movie. Doesn't mean that I didn't enjoy it - I did - a lot, but free from the pressures of expecting the mystery to be solved, I can enjoy it 100% for what it is. Like Sideways, watching this movie is the equivalent of luxuriating in a warm bath. The performances are understated,to say the least, and the cinematography just superb.
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The beginning is less than impressive. We're beyond the day that we're forced to watch the credits - something minor
should be happening to divert those of us - the majority - who don't care who the director or lesser players are. The very
first scene has the mail-woman delivering Bill Murray's significant pink letter - it would have been far more effective to
follow her for a minute or two while the credits played, rather than the dull white screen with postmarks floating by.
However, once we're introduced to Bill Murray's Don "with-a-T" Johnston, we're transfixed. Director Jim Jarmusch knows
exactly how to use Bill Murray's minimalist skills and the camera lingers on him, as if waiting for him to spring into
action at any moment. This, of course, never happens - which sounds like it it would drag like a paralysed pekinese, but
thanks to Bill Murray's inexplicable watchability, in fact has the opposite effect, the time flying by like a collie from a
cannon.
As Bill Murray travels the country searching for the son he's just learned of, he meets up with a bevvy of big names,
many of which are playing against type and are largely unrecognisable. Sharon Stone and Tilda Swinton
(the barge woman from Young Adam and Angel Gabriel from
