A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Showing posts with label Leila Gastil. Show all posts
Showing posts with label Leila Gastil. Show all posts

Saturday, September 12, 2026

Permanent Vacation (Jim Jarmusch, 1980)

Chris Parker and Leila Gastil in Permanent Vacation

Cast: Chris Parker, Leila Gastil, John Lurie, Richard Boes, Sara Driver, Charlie Spademan, Jane Fire, Ruth Bolton, Evelyn Smith. María Duval, Lisa Rosen, Frankie Faison, Suzanne Fletcher, Felice Rosser, Eric Mitchell, Chris Hameon. Screenplay: Jim Jarmusch. Cinematography: Tom DiCillo, James A. Lebovitz. Film editing: Jim Jarmusch. Music: Jim Jarmusch, John Lurie. 

Jim Jarmusch's Permanent Vacation is the quintessential student film, even if Jarmusch was no longer a student at NYU when he made it. It springs out of an environment, the way New Orleans gave birth to Stranger Than Paradise (1984), Cleveland and Florida spawned Down by Law (1986), and Memphis informed Mystery Train (1989), New York City is what gives Permanent Vacation its soul. It's a "student film" because those of us who are familiar with Jarmusch's later works can see in it how he's learning to use a sense of place as a reflection and an explanation of who his characters are. And it's also the work of a gifted but still uncertain student, learning that quirky and deadpan and offbeat are useful attitudes for a novice filmmaker but they aren't ends in themselves. Good things were yet to come from Jarmusch, but you won't find more than a hint of them in Permanent Vacation