A Review by Phil Calabro
2005, Focus Features, Dir. Jim Jarmusch - Starring Bill Murray, Jeffrey Wright, Julie Delpy, Sharon Stone, Frances Conroy, Jessica Lange, Tilda Swinton, Alexis Dziena, Christopher McDonald, Pell James, Chloë Sevigny, Mark Webber, Larry Fessenden, Chris Bauer
Sometimes it's the movies that say the littlest that end up being the most effective storytellers. We watch Bill Murray's Don Johnston, a lazy lothario living in a tiny cul-de-sac, sitting on his couch staring at the blank wall while listening to opera on his stereo system. He's made a life selling computers but he doesn't own one himself. He seems like a man of few words, but he's got stories piled to the brim in his closet. 'Broken Flowers' is one of those films that continues to amaze me as it unravels - a relaxed arrangement of dry humor and emotional facets that only Jim Jarmusch can master so well. Probably his best since 'Mystery Train', and considering that I have yet to see last year's 'Coffee and Cigarettes', Jarmusch manages to appeal to a mainstream audience yet still keep that artsy touch about it. It has all his trademarks littered around the final product, and gives Bill Murray yet another opportunity to give an Oscar-worthy performance.
Don Johnston (Murray) has just gotten dumped by his umpteenth girlfriend Sherri (Delpy), who picks up her luggage and breaks out without a thorough explanation. Don doesn't react too emotionally, but we can tell he's tired of all the breakups. That same day, he receives a mysterious pink letter in the mailbox - one that astounds our modern Don Juan. He learns that one of his former girlfriends from 20 years ago had a son, thanks to him, and that he is on trek to find his father. The only problem for Don is that there's no signature, postmark, or return address - he's been given a dilemma with nowhere to turn. Don's neighbor (Wright), who's an amateur sleuth thanks to the wonderous Internet, gives him an itinerary - meet all the girlfriends you remember from that period and find out who's the mother. Don goes on a long and quirky journey across the country, slowly realizing the kind of person he's become.
There are two people I know who are so incredible at deadpan: Jon Heder and Bill Murray. Murray has that hidden charm from 'Ghostbusters' and 'Groundhog Day' buried within his withered, tired looking visage. He's grown old of finding a bevy of formidable women, who eventually break off with him for reasons unexplained. He manages to keep the same demeanor with every old flame he meets - but with more recognition of his reputation as the ex's are checked off the itinerary. Jeffrey Wright brings out the laughs with his comically nosy neighbor character Winston - he's concerned for Don, mostly because he knows he means no harm whatsoever, and knows deep down inside that Don's actually concerned about this mysterious son. His goofy charm brings out the most in the comedy fraction of 'Broken Flowers'. The performances by Sharon Stone and Frances Conroy, as two of Don's old girlfriends, are equally impressive.
Jarmusch raises so many questions as the film progresses: What brought all of these old girlfriends to Don in the first place? What were their reasons for breaking up? Who is the mother of Don's child, and who is his son? When it comes down to it, none of these questions are meant to be answered, at least that's what I assume Jarmusch intended. This isn't about finding out a one-word answer, or learning the relevation of Don's offspring, but one about character development. One of Don's final lines is, 'The past is already gone, the future isn't here yet, so all we have is right now' - this is a sign of Don's belated maturity. He realizes the only thing he can do now to change his life is not to seek out what was, or what will - but what now? Some people may be disappointed at the film's abrupt finale, but I couldn't have asked it for any other way. It allows the point of the movie to simmer in the audience's minds.
'Broken Flowers' is an incredible movie, an intelligent movie, a funny movie, and a relaxing movie. There's no scenes of unnecessary tension, none of true disappointment, but still something that strikes your deepest heartstrings. This may be Jarmusch's chance to break out of the art house films, but maybe he doesn't. Maybe audiences won't appreciate them as much - but I certainly say he's got a good shot.
