As the devoutly single Don Johnston is dumped by his latest girlfriend, he receives an anonymous pink letter informing him that he has a son who may be looking for him. The situation causes Don to examine his relationships with women instead of moving on to the next one, and he embarks on a cross-country search for his old flames who might possess clues to the mystery at hand. full summary | add synopsis
Continuity: (At 17:00) During the scene where Winston goes back with the pink letter to Don's home, after he turns down the volume he sits down we can see the lampshade on the side table changing position to the next scene when the pink letter is on the table in front of Don's couch. This can be seen on the profile shots of Don and the lampshade on the background relative to unchanged camera angles.
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Quotes:
[first lines] Sherry:
I pretty much have all my stuff. [picks up mail] Sherry:
Looks like you got a love letter from one of your other girlfriends. more
Don Johnston, that's "with a T," has been left by his latest girlfriend
and has also received an anonymous letter from what can only be a
former flame. It states that he has a 19 year-old son who is looking
for him. With the persuasion of an odd, but well meaning neighbor, he
sets out to figure things out in his slow and uneventful life.
With a large focus on sensationalism these days, even in dramas, even
in good dramas, like History of Violence and Crash, there is always
usually that element of the extraordinary. Huge life changing
experiences that not only change the protagonist, but everyone around
them. Inner racial tensions shoot out like a shell out of a cannon or a
violent past hits a character like a freight train. But here, Jim
Jarmusch gives us... nothing. A boring man who could care less about
anything. Who just drives and dully interacts with his former
girlfriends. Barely showing any sort of exterior emotions to even some
truly unexpected surprises. Like Murray in the lead, Jarmusch chucks in
a lot of subtleties here and there. And like Murray in the lead, these
subtle hints of what is really going on hardly lead anywhere unless the
viewer decides they do.
It also works out as anything but a turn off or anticlimax (holycrap,
did I just say that?), but rather gets you to think back to what you
saw. And it REALLY points out the impact of relative perception to
events past with those complex creatures known as humans. --- 8/10
Rated R, but really has minimal profanity and brief nudity.
Don Johnston, that's "with a T," has been left by his latest girlfriend and has also received an anonymous letter from what can only be a former flame. It states that he has a 19 year-old son who is looking for him. With the persuasion of an odd, but well meaning neighbor, he sets out to figure things out in his slow and uneventful life.
With a large focus on sensationalism these days, even in dramas, even in good dramas, like History of Violence and Crash, there is always usually that element of the extraordinary. Huge life changing experiences that not only change the protagonist, but everyone around them. Inner racial tensions shoot out like a shell out of a cannon or a violent past hits a character like a freight train. But here, Jim Jarmusch gives us... nothing. A boring man who could care less about anything. Who just drives and dully interacts with his former girlfriends. Barely showing any sort of exterior emotions to even some truly unexpected surprises. Like Murray in the lead, Jarmusch chucks in a lot of subtleties here and there. And like Murray in the lead, these subtle hints of what is really going on hardly lead anywhere unless the viewer decides they do.
It also works out as anything but a turn off or anticlimax (holycrap, did I just say that?), but rather gets you to think back to what you saw. And it REALLY points out the impact of relative perception to events past with those complex creatures known as humans. --- 8/10
Rated R, but really has minimal profanity and brief nudity.