Of course, the mystical aura of an eternal, handsome Elvis Presley haunts everything in this unforgettable night in Memphis.
Is the King truly gone? Did you know Edit. Trivia The hotel where the three stories converge is no longer standing, so many fans of the movie have made pilgrimages to the site only to find that it no longer exists. It can, however, be seen in the background of the scene in Great Balls of Fire! Goofs Where Will parks his truck. Quotes Mitzuko : Jun, why do you only take pictures of the rooms we stay in and never what we see outside while we travel?
Crazy credits For Sara. User reviews 64 Review. Top review. Elvis Lives! The films portrayal of Elvis' birthplace of Memphis, possibly one of the most featureless, gritty and desolate representations of urban America ever committed to film, is a deceptively clever and substantial take on American subcultures.
Without doubt, it is the first of the films three vignettes that makes the film stand out a little more than Jarmusch's other quirky offerings. Two Japanese tourists besotted with the King's legacy and 's American retro-culture in general, decide to visit Memphis, where they experience the superficiality his iconic status has been reduced to. The over-excitable and optimistic teenage girl, along with her more austere, cooler-than-cool boyfriend, are equally unimpressed with what the town has to offer.
It's quite impressive that 15 years after its release, Jarmusch's depiction of alternative culture manages to capture the pretentious but proudly on-the-edges attitudes probably more apparent in today's retro-obsessed climate than ever before. Jarmusch's signature eclectic cast is another reason for repeated viewing, the subtleties of, in particular, Steve Buscemi's stuttering and nervous performance, are worth looking out for.
As is the linking theme of Elvis' ghost in all three vignettes, a brilliant example of how to take a simple theme, and continually parodize its implications until its every mention leads to some sort of in-joke. The cool, laid-back pace of the film allows the humour to hit you unexpectedly, and the timing is often genius. Very, very, very watchable. Details Edit. The next segment is titled "A Ghost" and it features an Italian woman named "Luisa" Nicoletta Braschi stopping over in Memphis having just lost her husband and is in the process of escorting his coffin back to Rome.
Much like Jun and Mitsuko, she also wanders around the city and ends up in the same sordid area of town. The 3rd segment is named "Lost in Space" and it involves three young men by the names of "Johnny" Joe Strummer , "Charlie" Steve Buscemi and "Will Robinson" Rick Aviles who are out drinking and after getting into some trouble stop off at the exact hotel as the other people just mentioned. What none of the people from these separate segments know is that-whether they know each other or not-their lives will become interconnected in such a way that none of them will probably ever be aware of it--and that's where the mystery of the film comes in.
Now rather than reveal any more I will just say that this was a unique film which contained some interesting bits and pieces but was much too loosely connected to really generate any enthusiasm on my part. Likewise, for a comedy the humor was much too sporadic. That being said, although this film may have been sufficient to pass the time, I wasn't overly impressed by it and for that reason I have rated it accordingly. After falling in love with Jarmusch's most recent film, Broken Flowers, I thought perhaps the door would be open and I would learn to love the rest of his films.
Unfortunately, watching Mystery Train, I feel the same distance that I have felt watching most of his other films. But I always felt like I should be liking it a lot more, and I just never felt much more than a nice affection for the movie. The film contains three segments about people in Memphis, Tennessee. I especially liked the first one, which has two Japanese tourists there to visit Sun Records and Graceland.
The second segment I liked less, which involves an Italian widow and a motormouth American she runs into. The third I liked slightly better than the second, and slightly less than the first. It involves three guys one of them being Steve Buscemi , one of whom has a loaded gun and is drunk who is not Steve Buscemi. I really liked those two. The whole film is mysterious and charming, with a bit of magic in the air, but somehow, for me at least, it didn't result in too much.
I really don't like art movies but this one is very interesting, in a bucolic and already decadent Memphis three stories happen in same time with different an unusual characters crossing their destiny in a cheap hotel, each one didn't are connected but all them acting so close like a parallel world, just Dee Dee has a little link with some them, the music score is fabulous as opening "Mistery Train" the best, Memphis is a kind of Rock'n Roll's Meca, survives from their past idols that addressed mainly to Elvis due cause he lived there, fantastic Jarmush picture!!
The only mystery in "Mystery Train" is how the film got into distribution. Telling a trio of separate short stories serially, all connected in time and space, taking place during one day and one night in Memphis, this little indie has precious little story to tell and squeaks by with kookie, off-beat, peculiar, or unusual characters.
Obviously a low budget flick judging from the absence of what we go to movies to see stars, stunts, action, great locations, etc. For indie lovers only. A little too much Like the other films from Jim that I've seen at least the recent ones i've seen, not counting Only Lovers Left Alive which I absolutely love this remains a fascinating, frustrating film.
Mostly brilliant, yes, I liked it, even liked it a lot. And I wasn't ever bored, despite what one would think because of his films' slow pacing. This one doesn't even feel slow, it just feels a little self- conscious. That being said, despite there being some scenes I liked less the third anthology story, to me, was by far the least interesting despite being easily the most action-packed.
The film's well done n a technical level that fits the theme of the stories and not being distracting either. A night in Memphis told in three non-linear, overlapping narratives, a style that was on the earlier side of a wave of such films.
It has visitors to America finding the city dilapidated and as lonesome as that train blowing its whistle as it rumbles on through. In a quiet, gentle way, Jim Jarmusch pokes at the fading of the American dream. The first scene gives us a young, very cool couple from Yokohama, the second a kind woman from Rome who generously takes in a talkative local who is running away from her boyfriend, and the third, the boyfriend and a couple of his friends drinking excessively.
They all will ultimately end up in a rundown hotel, with each set disappointed to find that there room has no TV, while a garish portrait of Elvis looks down upon them. One points out that it's not MLK or Otis Redding because it's white businessman who actually own the hotel, and the African-American night clerk and bellboy just work there.
The Asian couple is particularly cool, handling that lighter with flair and humorously debating the music of Carl Perkins vs. Elvis Presley how nice to see the representation of the guy in particular. One asks, "Was that a gun? This is America. That's all our culture ultimately represents.
The movie has all the recognizable characteristics of Jim Jarmusch, which make him one of my favorite directors, but this time the story left me totally indifferent. Maybe the story is meaningless and empty, and maybe I did not get it right.
Either way, this movie doesn't inspire me at all to write about it. A Japanese couple travels across the U. This film chronicles their brief stay in the home city of Elvis. Then it juxtaposes two other narratives that take place in Memphis. The result is a whimsical story with an interesting construction. The camera follows its primary characters in a documentary style as they do little of consequence, but the result is satisfying, primarily due to the likability of the characters. Quirky trio of tales loosely interlaced around a poor section of Memphis.
This was a very offbeat film which really didn't go anywhere but was still interesting and amusing. I appreciated all the super cool action with the zippo, particularly by the oriental dude. Very different, check it out. The opening shots of Jim Jarmusch's new film show two young Japanese tourists in a faded Amtrak coach, listening to their Walkmans as the train pulls through the edge of Memphis.
The girl is an Elvis fan. Her boyfriend believes Carl Perkins was the real founder of rock 'n' roll. They have come to see the shrines of Memphis such as Sun Records. In other hands, this pattern would head straight into cultural satire, into a comic knock on rock tourism, with a sardonic destination at Graceland as the punchline.
But, though he is a natural at dry goofiness, Jarmusch is not quite as much a comedian as an idealist, who sees America as an immigrant might, as a bizarre, nostalgic country where the urban landscapes are painted by Robert Henri and the all-night blues stations supply a soundtrack for life.
The tourists arrive in Memphis and haul their luggage through the yawning train station, and walk to the Sun studios, where a guide babbles on with her pitch about Presley and Perkins faster than an auctioneer could. Then they check into one of those flop joints that has grown tired waiting for the traveling salesmen who no longer come.
This is a hotel out of a s noir, with neon signs and a linoleum lobby, and a night clerk who is surprised by nothing and a bellboy whose eyes are so broad, he might be seeing everything for the first time. Other people will check into this hotel during the movie's lasting night of intricacy. The soundtrack is from a local radio station, and Elvis' version of Blue Moon is heard at some point during all three segments of the narrative, supplying a collective bond, as does an offscreen gunshot.
And so does the ghost of Elvis, who appears to habituate the movie with his sound and his mythology, and who materializes to an Italian widow played by Nicoletta Braschi.
Jarmusch believes in an American landscape that took place before city spread, before the reliable fruitlessness of the fast-food strips on the highways leading into town, saloons where everybody knows each other, diners where the short-order cook is in charge, and landscapes across railroad tracks to a hotel where vagabonds are not only greeted, they are known.
This indie tapestry is Jarmusch's third major film, after Stranger than Paradise and Down by Law, and definitely a precursor to his next film, Night On Earth, which is more solidly an anthology and explores the entire world at random. In all three there is the conviction that America cannot be nimbly encased into conservative and reassuring shopping assemblies, that there must be a life of the night for the drifters and the dropouts, the heroes of no permanent address and no evident vocational position.
However indeed their lives may be horizontal and bare, in Jarmusch's conception they are the true residents of the city, mainly after midnight. Speaking of the film as if separate from the universe of the Jarmusch filmography, this uncommon genre-less universalistic film, an anthology film that upon reflection does not seem like three stories but one, is not a traditional plot, and it is not how the story ends that is essential, but how it endures.
It is inhabited by dozens of minute, oddly contemplated bits of behavior, such as the rapport between Screamin' Jay Hawkins' hilarious night clerk and Cinque Lee's bellboy, or between the two teenage Japanese tourists, whose whole idea of what America is like is fashioned out of the sum of ideas, perspectives, attitudes and images of the mainstream. The greatest element about this almost antiquated album is that it takes you to an America you sense that you ought to be able to find for yourself, if you just knew where to look.
A place of people who are permitted to be personas, to be themselves. The train is the foolproof synecdoche in this movie. It's not where it's been that's of value, or even where it's going. One night a rundown hotel in Memphis hosts a rockabilly-loving couple from Yokohama, an Italian widow and her mismatched roommate, three guys on the lam, and maybe the ghost of Elvis. The three stories, all very different, are funny and intriguing, and picking up on the connections between them is fun.
Director Jim Jarmusch continues to indulge his fascination with America's cultural residue, this time going directly to one of the more reliable sources: Memphis, Tennessee, home of the Once and Future King himself, Elvis Presley. Like other Jarmusch films it's a deadpan, deadbeat sampling of offbeat Americana, seen by outsiders on the inside looking out: an Elvis-idolizing Japanese tourist and her cool, catatonic boyfriend; a young Italian widow who receives a ghostly visitation from the King; and an expatriate English drop-out bearing an unfortunate resemblance to the Man From Memphis.
It's certainly the most tightly controlled of the director's features to date, but at the same time the most relaxed and disarming. All the action what little there is takes place in and around a dilapidated downtown hotel over the course of a single night, with each episode occurring simultaneously but told in sequence, connected only by the repetition of otherwise incidental details. It may not add up to anything more than a shaggy dog joke, but in its own offhand way the film works, with Robby Muller's atmospheric photography providing a wonderfully effective after-hours ambiance.
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