The Limits Of Control
Jim Jarmusch Gives a Meditative Look at the Lonely Life of a Hitman
The film details a professional killer played by Issach de Bankolé through the duration of an entire job, from his inception into the murderous plot, to his severing of all ties to the deed. After his initial meeting with his client at an airport, he leaves for Spain armed only with encrypted instructions, an old French matchbox, and a dapper designer suit.
Once there, the story spends much of its time wading through the extremely tense mundanity of being a professional killer. He awaits further instructions by spending his time in museums, walking the streets, sipping espressos at picturesque cafés, and meditating in his hotel room. Along his journey, he has casual encounters with his contacts, who offer wry commentary on anything from the arts to molecular science along with an uncomfortably ominous trading of information. The film delves deep into the quiet mind of the hitman as he gets closer and closer to the final mark, never sure how close he is, or if anyone may be on his tail.
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Over a career that stretches back to 1984, Jarmusch has consistently distanced himself from mainstream narrative, adopting stories and structures some would say shouldn’t even be bothered with. The same outcast’s perspective is what makes him so refreshing to fans of his work. Here, he strips the Hollywood image of a hitman of it's glamor and appeal, leaving us with a consummate professional in a disenchanting profession.
The electricity of Jarmusch's patience and observation is strong in films like Stranger Than Paradise, Down By Law, and Dead Man offers a chance to examine strange and beautiful worlds, and it is in the latter that Limits of Control has a kindred spirit. The impressionist dreamscape Jarmusch paints Spain into is similar to the northwest netherworld of Dead Man. The locations feel eerily alive and equally haunting, but the colors of this film blast with vibrancy, much due to the beautiful cinematography by Christopher Doyle.
Where his work on Wong Kar Wai films Happy Together and In The Mood For Love oozed with warmth and sensuality, Limits of Control reflects the protagonists cold, calculated manner. Every shot of the film feels scrupulous and beautiful, reframing locations to the slightest degree as the Lone Man passes through places again and again through his days. The feeling is meditative and disassociative; as though each moment is in and of itself the entire movie, and as they pass, they are lost to eternity, replaced by the new moment.
“Among us there are those who are not among us.” – Blonde (Tilda Swinton)
"I am among no one." - Lone Man (Issach de Bankolé)
It's not just de Bankolé's performance, but his presence, that must carry this film, and if his face weren't so drawn and distinguished, the ploy probably wouldn't have worked so well. Even so, at times it falls short, especially when doubt is cast on his character's limits or control. There are scenes where his character's resolve is supposed to be shaken that never feels legitimate; muddled against the calm, cool, collected majority of the film. The aside conversations are enjoyable, but with such quirky characters like Tilda Swinton, Gael Garcia Berñal, and John Hurt, they sometimes feel too light and whimsical to believe.
The Limits Of The Film
Another aspect of the film that is relied on far to heavily is the soundtrack. The soundscape created is barren and direct, as though emptying itself of the same superficiality the Lone Man has rid from his own mind, focusing on the natural environment. Most of the music is provided by experimental metal artist Boris, whose songs wash over silent scenes like sonic waves. The monotonous drone fits the flowing vibe early on in the film, but as time goes on, it either becomes overwhelming or feels out of place.
The film is able to hold itself together for the most part though, thanks to a terrific editing job by Jay Rabinowitz. Best known for the delirious pace of the cutting of Requiem for a Dream, Jay allows a lot more breathing room with this film. The pace has the slow, smooth steadiness of a river, and allows the film to sneak through it's hazier areas and get back on track. Anyone with serious interest in meditation, cinema, or just being an honest-to-gosh hitman, this is definitely a film to check out, but don't take this for any kind of light viewing. When you buy Jarmusch's ticket, you better be ready for a deliberately challenging ride.
P.S. Gotta love that Bill Murray cameo.
3 out of 4 stars.
Lone Man (Issach de Bankolé), stoic as ever
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