The Limits of Control
3/14/10
I’m terrible at analogies, so I often repeat the only successful one I’ve ever thought of: When vegans bake cakes, they don’t just take out the eggs—otherwise the cake would turn into a soggy mess and collapse on itself in the oven. Instead, they replace the eggs with applesauce, and the cake turns out looking like a cake. Somehow, Jim Jarmusch has found a way to remove the eggs and still come out with a delicious dessert in The Limits of Control—though he removes any semblance of plot or story, he still ends up with a fascinating film.
It sounds counter-intuitive that such a movie would be remotely enjoyable or entertaining. I’ve seen countless student films that use all of the same noir-thriller tropes as Jarmusch employs here (suited criminal with quirks, allegorical anecdotes, “patient” editing styles). But what they lack that Jarmusch brings is a confidence behind the camera to create a mood that envelopes the viewer. (They also lack name-brand talent that can pull off aimless dialogue.)
Honestly, I’m not sure what Jarmusch was trying to say with the film, but I’ve got a few ideas. The fun comes from trying to solve a mystery that might not even be there. It’s not a question with a straight-forward answer, but a meditation on storytelling that requires much audience participation. But if you put a lot into it, you’ll likely get a lot out of it. (That being said, I’ve found my closure and won’t be thinking about it for quite some time.)
