fusillo

Let's get to Murray's face at the end: As I told you, in that scene I only see a man who, despite his initial reluctance due to the faint hints contained in the letter, has become fond of the idea of having a son. At first, he doesn’t want to admit it, but subconsciously Don desires that child. As I already mentioned, that boy is not the only twenty-something that Murray looks at with extreme interest. Before going to see Stone, he looks at a boy of the same age in much the same way. It’s clear that Don is unhappy. He wouldn’t spend his days watching old movies if he were happy. And a child could be a way to give meaning back to his existence. At first, this is only a certainty on a subconscious level. This is why Don is convinced by Winston. Gradually, while he is on his journey, that desire for fatherhood comes to the surface and becomes almost an obsession; so much so that Don WANTS to believe that the aforementioned boy is his son, even though there’s only a one in a million chance... That’s why he has that disappointed and lost expression. "Castaway," therefore, seems to have little to do with it, but that's how it is...

Why doesn’t Don react when his girlfriend dumps him? Another pointless question: Don’t we all have different reactions? You might have tried to stop your (ex) girlfriend in every possible way. I would too. But Don, on the other hand, doesn’t. But then again: could it be that Don actually doesn’t mind at all the idea of that woman getting out of his life? Just to talk about it... Next up: why is Don sleeping with Sharon Stone? Maybe they just wanted to, what do you think? While you’re looking for a child, there’s no rule against having sex. And if Sharon Stone is right in front of you...

Let’s get to your questions: Why is Winston (by the way, thank you for reminding me of his name) interested in Don's affairs? Well, frankly, I have to say, it seems to me a completely unnecessary question. This is a more or less realistic film, with some paradoxical elements (Don actually seems more like a parody of Don Giovanni…). In more or less realistic films, there are more or less normal people. More or less normal people have relationships, some more, some less. Don happened to live near Winston. They must have talked one day, then gone out for a beer together, and all of a sudden, they became friends. Want to know why Winston is interested in Don's affairs? Because he is his friend. I can't offer any other explanations for something that doesn’t seem so forced to me.

Dear Uxo, I don't understand you: am I a "pest"? And why? You wrote a series of things I don’t agree with. I told you so as one normally does in reviews comments, and for this, I would be a "pest"? And when did I ever "look down on you"? Tell me, otherwise you’re just talking nonsense. And I assure you that I don't have and didn't have my balls twisted... I repeat: I asked you some questions about your review... Acknowledging that you didn't want to talk, I politely said goodbye. Now that you’ve found your words back, let’s see... First thing: you are absolutely right when you say that Jarmusch’s films thrive on what’s left unsaid. I cite "Daunbailò" as an example: that film tells, in short, the escape from prison of three losers. What’s missing in the plot? Exactly the escape from prison... One moment the three are in jail. Right after they are outside. Is that normal? Who knows, maybe not, but when I watched it I didn’t think that something was missing... It must be a choice, it must be the author’s stylistic signature, whatever you want, but that’s how it is. I’d say, take it or leave it...

Damn, I still haven't voted for the review...

Well Uxo, I thought you were the one who wanted to talk. But if you don’t want to, who’s forcing you? And I’ll tell you, your review didn’t mean anything to me. In fact, it’s really poorly done. And anyway, even if Murray is interested in the letter for the intervention of the friend, what changes? Does it ever happen that some of your friends don’t mind their own business? And if it does, what do you do? Do you tell them to fuck off? Do you cut them off? Obviously, I don’t expect an answer... Bye bye.

I almost forgot: I'm not a fan of black music, but I agree with Zion's comment about the beautiful soundtrack...

@Uxo: "Let’s start with Murray’s performance: it’s useless. seen it all before." Oh, Murray has that face and has been acting like that since “Saturday Night Live.” Alright, he’s a bit older now... Anyway, Uxo, do you want to retire him? Well, let him know... Then I didn’t understand why you say that “Jim Jarmush enjoys sprinkling suggestions full of a bit too obscure nuances.” I’d also like you to explain to me “the insinuating (pardon?) and slimy (what?) slinking (of Murray) from one place to another without apparent motivation.”... Murray receives an anonymous letter through which he discovers that (perhaps) twenty years earlier one of his exes had a child by him. After a natural initial reluctance, he goes in search of his son and the mother. He’s rich, spends his days watching old movies, his girlfriend just dumped him… What the hell is he doing at home? Better to leave, right? Well, it’s certainly not anything original, but what’s dark and unmotivated about it? In the scene you mention in your post, Murray looks around because he thinks that the boy he just met and who has already run away might be his son. He doesn’t see him in any direction and feels regret. It’s likely he thinks he’s a bit out of it, considering he mistook a stranger for the aforementioned son. And let’s not forget that this boy isn’t the only twenty-something that Murray looks at with interested eyes. Totally understandable things, I’d say... And what does “Castaway” have to do with it? Finally, if in every film you have to find originality at all costs, you’re in for a very long job of tearing things down...

But how much loooove on this page... Anyway, yes, it's true I'm a bear, but on 15/09 if this meeting really happens, I’ll be there... Just don’t ask me to cook... I'm saying this for your own good...

Congratulations on the summary... and on the choice of genre.