Jim Jarmusch’s “Paterson” and the Myth of the Solitary Artist. 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.“Paterson,” the story of a poet and his poems, is set in Paterson, New Jersey, and its protagonist is a bus driver named Paterson, who is played by Adam Driver. Paterson the driver writes poetry; he thinks poetry while walking to and from the depot, he writes in his notebook (his so- called secret notebook) at the wheel of his bus while waiting for his shift to begin; he writes during his lunch hour while sitting on a bench beside his favorite place, the Great Falls of the Passaic River, with his copy of Frank O’Hara’s “Lunch Poems” beside his lunchbox; he writes at his cramped desk in his basement, surrounded by building supplies and hardware.

“Paterson” and “Neruda” Jim Jarmusch’s film stars Adam Driver as a bus driver and Pablo Larraín’s movie stars Luis Gnecco as Pablo Neruda. The Orb are an English electronic music group known for being the pioneers of ambient house. Founded in 1988 by Alex Paterson and The KLF member Jimmy Cauty, the Orb. The ultimate news source for music, celebrity, entertainment, movies, and current events on the web. It's pop culture on steroids. Paterson the movie doesn’t mine the dross and drab of our everyday lives for gold — it says they already are gold, and all you have to do is look.

Richard Brody reviews Jim Jarmusch’s new movie, “Paterson,” starring Adam Driver, Golshifteh Farahani, Rizwan Manji, Barry Shabaka Henley, and Johnnie Mae. Over the next month, we'll be collecting year-end top 10 lists from over 120 movie critics and publications. Browse the individual lists and view our composite. Offers news, comment and features about the British arts scene with sections on books, films, music, theatre, art and architecture. Requires free registration. Jumanji Welcome to the Jungle 2017 Full Movie Watch Online or Download instant free on your Desktop, Laptop, notepad, smart phone, iPhone, Apple, all others.

The poems that Paterson thinks and writes are actually by Ron Padgett (who’s cited in the end credits), and the film is filled with them. Watch Cut! HIGH Quality Definitons here. Jarmusch creates superbly lyrical sequences of shifting multiple exposures, with Driver’s voice reciting Paterson’s (rather, Padgett’s) poems while they’re superimposed on the screen in Paterson’s handwriting.

There’s also a poem by William Carlos Williams, “This Is Just To Say,” the one about the plums, that’s recited by Paterson in the course of the action. Watch Mirrors Putlocker. Talking in 1. 98. I lamented the absence of poetry from public life; he responded that it was the fault of filmmakers—that if a filmmaker put poetry into the script of a major motion picture, poetry would become popular again.

Jarmusch has gone a step further—he has made a movie that’s filled with poetry and that is a poem in itself. Watch Hitman: Agent 47 Full Movie here. The movie’s very being is based in echoes and patterns, and that’s how the movie is constructed—in seven episodes that are virtual stanzas, each for a day of the week, with the five working days offering the same set yet slightly varied structure, emphasized with recurring shots, actions, locations, characters, themes, and the two days of the weekend offering echoing actions of their own.

Paterson wakes up in bed beside his partner, Laura (Golshifteh Farahani); has a moment with her; goes to work; comes home (fixing the tilted mailbox as he walks up the driveway); dines and talks with Laura; takes the dog, Marvin, for a walk; and stops off for a beer and some chat at his neighborhood bar. Paterson is the family wage- earner; Laura spends her days on style. She’s a butterfly of unburdened delight and impulsive activity. She paints the walls of the house, the curtains, the cabinets, and the shower curtain with designs in black and white; she dresses in black and white and looks at herself in the mirror as she tries on black- and- white accessories. Her long- term plan involves starting a cupcake business, and she dreams of cupcake- baking making them “rich.” She also dreams of becoming a country- music star; she’s no musician, but she must have a black- and- white “harlequin” guitar, which comes with an instructional DVD by its creator, named Esteban (a recurring unseen presence), and she spends several hundred dollars on the guitar and its accoutrements despite Paterson’s uncertainty about the expense. She fills Paterson’s lunchbox, decorating it with photographs of herself and with icons of poetry, and cooks dinner for them, experimenting with recipes of her own devising that he chokes down uncomplainingly while she takes his diffident calm as a compliment.

She’s also a bundle of enthusiasm for his poetry, encouraging him to write, asking him about his writing, urging him to read his work aloud to her, suggesting that he make a copy of his notebook of poems for safekeeping and even for publication. Her talkative enthusiasm meshes with his phlegmatic skepticism. Laura is a Lucy of far- fetched schemes and well- meaning, love- filled flops. Even her great success—her successful sale of cupcakes (decorated in black and white, of course) at a farmers’ market—ends up causing Paterson some serious accidental trouble. In Paterson’s narrowly practical and orderly life, Laura embodies the principle of disorder and ornamental impracticality; her idiosyncrasies, her surprises, her caprices, her stylish inventions—all coupled with her unfailing, worshipful devotion—are the stimuli to his creation, the irritants and inspirations that sharpen his perceptions and bring his emotions to life.“Paterson” offers Paterson a series of counterlives, a trio of men who don’t have an inherently poetic woman like Laura in their lives.

There’s his colleague at the bus depot, Donny (Rizwan Manji), who endlessly complains about his wife, his children, his in- laws, his expenses, his inconveniences; there’s Doc (Barry Shabaka Henley), the bartender who fills his City of Paterson “wall of fame” with homages to local greats without being a creator himself and argues with his wife (Johnnie Mae) about his undue expenses on his pleasures; there’s Everett (William Jackson Harper), an actor whose life veers toward tragedy when his love for a longtime friend, Marie (Chasten Harmon), goes unrequited. Despite his life with Laura, Paterson’s world is a man’s world, a world of stifled masculine violence. A night- table photo shows that Paterson was in the Marines (as Driver himself was, in real life); his work, though manual, isn’t physically demanding, and there isn’t anything in the movie that reveals him to be vigorous, athletic, or martial—until violence is threatened and Paterson springs into action. The most striking moment in the film, the one in which presence pierces performance and onscreen behavior bursts through scripted action, is Driver’s pale, wide- eyed, fragmented, and mumbled response to praise for his heroism.)Paterson is the man of all endurance.

He does his dull job without complaining and finds charm and enlightenment in the conversations of passengers and pleasure in repeated viewing of the cityscape of his route. His poetry is imbued with the modest substance of his life.

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