Gritty, idiosyncratic southern gothic about three down-on-their-luck misfits on the lam. Jarmusch uses New Orleans locations and Tom Waits' music to set the tone before settling into his signature blend of humor and minimalistic, character-driven storytelling. Warm-blooded cinematography and inspired casting bring plenty of charm to this American fable.

The true example of how an actor can truly make the difference!

終始鍧空間全域が満悂に映る引きのシ楃ットで鍧映像が物語を語る際に無駄なく洗練洏せている

Much like Paul Thomas Anderson or Wes Anderon, Jim Jarmusch is a very unique voice in the cinematic world. His style of writing and presentation aren't for everyone, and you'll find out very quickly which side of the fence you fall on. Down By Law is more about creating a vibe than it is about telling a story, and I think that's what puts a lot of people off. Slow moving narratives are a hard thing to get right, and you risk alienating your audience if you do don't have something to hook them in. Fortunately, what DBL lacks on the story front, it makes up for in the character department. By spending so much time with only 3 individuals, following them through a series of events, we get to know them well and experience the dynamic between them. By the end we feel like we've been on the (mis)adventure with them, like we're one of the group. The film can take a long time to make it's point, but that feeling starts to fade the more the film goes on, because we grow more comfortable with the film's style and approach. I can't say it's a film I'd watch again, as it's pace would grate on you the more times you see it, but as a relative newbie to Jarmusch's work, I can't say I didn't enjoy it.

In Down by Law, an early offering from the always interesting Jim Jarmusch, three disparate characters escape prison and find themselves on the run from authorities through a swampy Louisiana landscape. Among its virtues, Tom Waits, John Lurie, and Roberto Benigni are all great in the lead roles, the characters are nicely developed, Jarmusch proves that he knows how to frame and block a shot, and the cinematography and lighting are stunning at times. However, the acting by the secondary cast is often sketchy at best and the dialogue can be downright cringy at times. Regardless, Down by Law is worth watching to see a young filmmaker refining his skills and learning his trade.

A classic of the crime genre that provides an intimate view of city life and raw human emotion.

Great film Altogether I think that the film, "Down By Law" (1986) by Jim Jarmusch featuring Tom Waits, is one of cinema's finest noir pieces, an obvious montage through the arts of it's time period, but held together at it's essence, which is the perceived voyeur's agreements with the sometimes awkwardly staggered and dragging exaggerations made by the true minds of the film. This context within context is somewhat familiar to the actors and writers whose hand at the work is seen like a stark author's stencil's dark shading on the texture of the characters at work in the movie. The exemplary effort given by the both the entire teams of the production and writing seem to fit seamlessly as though the stages were set and the actions seemed to flow out of the actors through the piece in the easiest, while at the same time, most mind-blowing orchestration through which the music plays on the rhythm of the story, and viewer. Great early attempt by Jim Jarmusch in film-making, and a true classic. Special recognition, definitely, for Roberto Benigni who was truly fun.

Off-beat, laid-back mood as of Jim Jarmusch. I'm sure that this was innovative for prison brake genre, but I find this need some thrills at least. It's a cozy friendship story.

Jarmusch's style of storytelling is probably more mood-dependent than any other director. Elevating the banal in a meandering slice of life about people with seemingly no ambitions and no desire to have them is not something you'd probably recommend for anyone to write. But he effortlessly pulls it off again and again. And so, this fairy tale can seem very boring if you are not willing to immerse yourself and just accept that Jarmusch loves the open-endedness of his stories. The main problem, I see, starting from prison, is that both Tom Waits and?John Lurie get completely sidelined by Benigni, and I love that little bugger. How can you not? He immediately becomes the driving force while they are just observers who react to him and his obtuse and contrasting worldview. Of course, it doesn't ruin the finale, where their new life begins. Maybe that's what Roberto was, the guide that led them from their old ruined lives.?The movies look great visually; it's one of those cases where black and white is clearly chasing the picture and color would not improve any of the visuals but would drastically detract from many scenes. And of course, the soundtrack is top-notch too.

Down By Law is Jim Jarmusch at his best, shot in black and white, with a perfect cast, brilliant cinematography, a fantastic music score, an absurd and subtle but basically kind of dark humor, amplified by the unexpected and with a special sense of timing in performance and editing. You never knows what comes next.

Jim Jarmusch handles a very simple premise Three men, previously unknown to each other, are arrested in New Orleans and placed in the same cell; Zack, Jack, and Bob The trio eventually try to escape prison together Unlike other prison movies this centers on the arrest, incarceration, and escape from jail of three men It discards jailbreak film conventions by focusing on the interaction between the convicts rather than on the mechanics of the escape The entire journey though is a slog; it takes way too long to get to the actual imprisonment and the actual escape is less than exciting This will be a huge bore for a lot of viewers mind you

1001 movies to see before you die. This was tedious. It was like they had no plot and thought that hiring the famous Italian would make up for the mediocrity of the film. It was on amazon.

Tell me that young Tom Waits doesn't have the exact same face as Ron Perlman. And damn can that man croon. Lurie is a strange creative genius in multiple mediums that has flirted with really mainstream success; his great sense of humor doesn't really come through with this film, but it's just nice to see the guy. Benigni as Bob, a first-generation immigrant who is kept at arm's length by the language barrier but who also has a greater knowledge of American classics than the two native sons, is a treat. What a perfect cast for a Jarmusch film: each very talented, sort of well-known, but none a household name, just like him. The film is absolutely wonderfully shot, incredibly sharp, and features plenty of the director's traditional long takes, great on-location shooting, and inspired shot choice, particularly the intimacy with which the trio is portrayed. Some funny comedy and unique takes on the American experience (parodies on Twain and Bob's disillusionment with the actual America vs. the literary version, for instance) combine together to make a languid, beautiful film that can be called one of the director's best. (4.5/5)

This film is about American exceptionalism, with the 2 losers pursuing their selfish American dreams, totally ignorant of the world around them. Enter Bob, the angel trying to show them the light, time and again, but they never really get it. Genius.

The most brilliant idea here was to put this three actors together: amazing vibe between them (I bet they are still friends in real life). I also want to point out that without the great Roberto the whole would have been a bit of a drag , The story is basic, but the cinematic style is more than enough to make up for it!

I won't pull any spoilers, but what a story, cinematography, and music. I only wish there was more Waits music.

I would believe it if someone told me that this 30-year-old movie came out last year. And Roberto Benigni is the best foreigner character of all times!

Funny, old-fashioned film. Underrated? Possibly. Must-see? Perhaps.

Great movie. Really funny at times but also very real.

Swings between an awkward theater piece and surprisingly engaging comedy. Something about the film was hard to engage with, so those really on-point moments were hard to trust. I felt like I'd been on a journey by the end, but I had to fight to stay with it.