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English version below:

Vu : Paterson, un film réalisé par Jim Jarmusch en 2016.

Au panthéon de la cinématographie mondiale, Jarmusch (1953- ) vient de réussir, à mes yeux, un tour du chapeau.

Celui-ci a commencé avec Down by Law (1986) grâce aux mélodies carnavalesques et rauques de Tom Waits, aux noirs et blancs profonds de Robby Müller (1940-2018) et au jeu déjanté du trio de fugitifs incarnés par Tom Waits, John Lurie et Roberto Benigni.

Arrêt sur image : Down by Law (1986), Jim Jarmusch (direction photo de Robby Müller), source.
Arrêt sur image : Down by Law (1986), Jim Jarmusch (direction photo de Robby Müller), source.
Arrêt sur image : Down by Law (1986), Jim Jarmusch (direction photo de Robby Müller), source.

Il s’est poursuivi avec Ghost Dog: The Way of the Samurai (1999), toujours avec les images de Robby Müller, grâce au calme souverain de Ghost Dog (Forest Whitaker), au sourire contagieux de Raymond (Isaach de Bankolé) et à la perspicacité de Pearline (Camille Winbush).

Arrêt sur image : French Lesson, Ghost Dog: The Way of the Samurai (1999), Jim Jarmusch (direction photo de Robby Müller), source.
Arrêt sur image : French Lesson, Ghost Dog: The Way of the Samurai, 1999, Jim Jarmusch (direction photo de Robby Müller), source.

Et il est coiffé par Paterson (2016) grâce au temps qui passe lentement, aux vers envoûtants de Ron Padgett (1942- ) et, parfois, à ceux de Jarmusch lui-même, comme lors de cette rencontre fugace et magique entre une jeune poète (Sterling Jerins) et Paterson (Adam Driver) :

« Water Falls / Water falls from the bright air / It falls like hair falling across a young girl’s shoulders / Water falls making pools in the asphalt / Dirty mirrors with clouds and buildings inside / It falls on the roof of my house / It falls on my mother and on my hair / Most people call it rain ».

Arrêt sur image : The Secret Notebook, Paterson (2016), Jim Jarmusch (direction photo de Frederick Elmes), source.

Comme l’écrit Richard Brody dans une critique publiée dans le New Yorker :

« Jim Jarmusch is among the rarest and most precious filmmakers of our time, because, at his best—as he is in his new film, “Paterson”—he conjures an entire world of his own imagination. He does so with his wry and tamped-down tone, his loping rhythms, his puckishly frontal compositions, his worn-in sense of design, the winking terseness of his dialogue—and the loving precision of his documentary-rooted observations, which anchor his microcosmic cinematic world, with its austerely whimsical passions, in the world at large. »

Un effort d’analyse qu’aurait pu faire ce critique français qui, commentant le travail du peintre J. M. W. Turner (1775-1851) à la suite du décès de ce dernier, déclarait, dans un condensé de condescendance suprême, qu’il s’agissait d’une oeuvre : « presque réussie » !

English version:

Slowly

Seen: Paterson, a film directed by Jim Jarmusch in 2016.

In the pantheon of world filmmaking, Jarmusch (1953- ) has just achieved, in my opinion, a hat trick.

It began with Down by Law (1986), thanks to the raucous, carnivalesque melodies of Tom Waits, the profound black-and-whites of Robby Müller (1940-2018), and the crazy acting of a trio of fugitives played by Tom Waits, John Lurie, and Roberto Benigni.

Stills: Down by Law (1986), Jim Jarmusch (images by Robby Müller), source.
Stills: Down by Law (1986), Jim Jarmusch (images by Robby Müller), source.
Stills: Down by Law (1986), Jim Jarmusch (images by Robby Müller), source.

It continued with Ghost Dog: The Way of the Samurai (1999), again with Robby Müller’s images, thanks to the sovereign calmness of Ghost Dog (Forest Whitaker), the contagious smile of Raymond (Isaach de Bankolé), and the astute Pearline (Camille Winbush).

Stills: French Lesson, Ghost Dog: The Way of the Samurai (1999), Jim Jarmusch (images by Robby Müller), source.
Stills: French Lesson, Ghost Dog: The Way of the Samurai, 1999, Jim Jarmusch (images by Robby Müller), source.

And it is topped by Paterson (2016) thanks to the slow passage of time, the spellbinding verses of Ron Padgett (1942- ) and, sometimes, those of Jarmusch himself, as in this fleeting and magical encounter between a young poet (Sterling Jerins) and Paterson (Adam Driver):

Stills: The Secret Notebook, Paterson (2016), Jim Jarmusch (images by Frederick Elmes), source.

As Richard Brody wrote in a review published in the New Yorker:

« Jim Jarmusch is among the rarest and most precious filmmakers of our time, because, at his best—as he is in his new film, “Paterson”—he conjures an entire world of his own imagination. He does so with his wry and tamped-down tone, his loping rhythms, his puckishly frontal compositions, his worn-in sense of design, the winking terseness of his dialogue—and the loving precision of his documentary-rooted observations, which anchor his microcosmic cinematic world, with its austerely whimsical passions, in the world at large. »

An analytical effort that could have been made by that French critic who, commenting on the paintings of J. M. W. Turner (1775-1851) following the latter’s death, declared, in an epitome of supreme condescension, that his work as a whole was: « almost a success »!