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Title :Paterson (2016)
Rating :7.7/10
Release : 17 November 2016 (Germany)
Genre :Comedy, Drama, Romance
Runtime:1h 58min
Country:USA | France | Germany
Language:English | Italian
Director: Jim Jarmusch
Writers: Jim Jarmusch
Stars :Adam Driver, Golshifteh Farahani, Nellie

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Paterson (2016) trailer

Paterson (2016) review

Jim Jarmusch offers a delicate and then thrilling meditation on order and chaos in life and art in the exquisitely understated film “Paterson,” starring Adam Driver as a man named Paterson who lives, of course, in the New Jersey city of the same name.

The film is appropriately structured according to the pattern of Paterson’s days. He wakes up, he makes coffee, he dresses and walks out of the house he shares with his girlfriend, Laura (Golshifteh Farahani), straightens his sad little mailbox, whose tilt threatens the oppressive symmetry of the house, and goes to work as a bus driver for New Jersey Transit.

He overhears passenger conversations and keeps his eyes on the road. He follows his prescribed route and makes stops along the way.

In downtime and between shifts, he writes poetry — not florid or mannered in any way, but rather poetry of his known world:

“We have plenty of matches in our house. We keep them on hand always./ Currently our favorite brand is Ohio Blue Tip, though we used to prefer Diamond brand.”

Paterson’s known world is comparatively small, as are his aspirations, or so we think. Laura keeps needling him to get his work published.




Quick take: Jim Jarmusch’s small miracle

While he is following his route every day, she is at home, running up new drapes, painting new shower curtains, repainting doors and cabinets, apparently on a crusade to decorate every square inch of the unremarkable home with patterns of contrast — black and white lines, dark circles on a white background, lines slanting one way next to lines slanting the other.

She thinks she could be a country star, although she has no musical knowledge; her distinct style, she believes, could seal the deal. She cites Tammy Wynette and Patsy Cline as inspiration.

At first, we look at Paterson’s life with pity, perhaps even think his is a life of pathos, not even quiet desperation — just quiet sameness. It’s pathetic that he writes poems about nothing and has no ambition to see them published.


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The poems in the film are actually by Pulitzer Prize nominee Ron Padgett, worthy in their own right, but also evocative of yet another “Paterson,” the multivolume magnum opus of physician and poet William Carlos Williams, master of poetic imagism, which sought documentary clarity of expression.

Williams, who spent his life in Paterson, saw poetry in the everyday. But Paterson takes it one step further: His everyday life is the poem, although we don’t see that immediately. We see structure in Paterson’s days, each day a deceptively smothering stanza of time. It takes us a little longer to see how Paterson is living the poem that he will later record by hand in his notebooks.

Jarmusch is masterful as he carefully manipulates our expectations of the film and its central character. We take Paterson as a latter-day Willy Loman at first, then dally with the notion that the repetitiveness of his life could even end in violence.

If Driver hadn’t delivered such a beautifully controlled but eloquent performance, you might even think that Jarmusch chose him for the role because of his last name. It would, after all, mirror the layers of Paterson’s structure, having Driver play a driver.

That’s the kind of thing that may occur to you as you surrender yourself to the thematic origami of “Paterson.” Like Driver’s character, you become not merely the audience, but the artist, seeing clarity and purpose in the disorder of daily life.