Summary:Resolutely single Don (Murray) has just been dumped by his latest lover (Delphy). Don yet again resigns himself to being alone and left to his own devices. Instead, he is compelled to reflect on his past when he receives by mail a mysterious pink letter. It is from an anonymous former lover and informs him that he has a 19-year-old son whoResolutely single Don (Murray) has just been dumped by his latest lover (Delphy). Don yet again resigns himself to being alone and left to his own devices. Instead, he is compelled to reflect on his past when he receives by mail a mysterious pink letter. It is from an anonymous former lover and informs him that he has a 19-year-old son who may now be looking for his father. (Focus Features)…Expand
A clever and meaningful film about a middle aged man reflecting on his life and his future. If you think the movie has no end, you're an idiot and you have no idea what they're trying to say. I can see the criticism that it moves slowly, because some people aren't able to A clever and meaningful film about a middle aged man reflecting on his life and his future. If you think the movie has no end, you're an idiot and you have no idea what they're trying to say. I can see the criticism that it moves slowly, because some people aren't able to engage without constant fireworks.…Expand
2 of 3 users found this helpful
9
JakeH.
Sep 11, 2005
Absolutely wonderful. An a emotionally satifying film that leaves you think about life.
0 of 0 users found this helpful
9
JohanS.
Jan 31, 2007
Every human being is an island. No matter what you do. Bill Muray shows this unbearable loneliness in a superb way.
0 of 0 users found this helpful
5
SoiD.
Apr 26, 2006
Seems like people either think this film is genious or a total bore. I'm inclined to go with the 'bore' side. The pacing is too slow, there's no resolution, the story doesn't hold together - it's all pretty senseless. It has good moments, but makes a point of Seems like people either think this film is genious or a total bore. I'm inclined to go with the 'bore' side. The pacing is too slow, there's no resolution, the story doesn't hold together - it's all pretty senseless. It has good moments, but makes a point of making every scene as dull and uncomfortable as possible. Also? Free Bill Murray! He's trapped here. In Lost in Translation, he was near perfect; here his stone face, on which camera lovingly lingers for hours, conveys little; there's zero believalibility that this guy can be - or can ever have been - a Don Juan.…Expand
0 of 0 users found this helpful
4
MarkB.
Aug 24, 2005
A vaguely well-to-do but endlessly unhappy permanent emotional burnout (Bill Murray) receives two pieces of news that would rock anybody else's world but barely causes a ripple in his: a son he never knew is now a near-adult and may be visiting him soon, and a typewritten, anonymous A vaguely well-to-do but endlessly unhappy permanent emotional burnout (Bill Murray) receives two pieces of news that would rock anybody else's world but barely causes a ripple in his: a son he never knew is now a near-adult and may be visiting him soon, and a typewritten, anonymous letter from the boy's mother--any one of several past lovers Murray's had--has just arrived. (The letter is typewritten, but the envelope is hand-printed, and yet he still has no idea who wrote it. I can instantly recognize the handwriting of several people I haven't seen in years or even decades; is Murray's failure to do the same an indication of his total lack of involvement or just a screenwriting glitch?) Cult director/writer Jim Jarmusch chronicles Murray's subsequent, heavily reluctant cross-country odyssey to lean which woman from his past (Sharon Stone, Frances Conroy, Jessica Lange, Tilda Swinton) owns the incriminating typewriter. Jarmusch's last effort, the multi-skit crazy quilt Coffee and Cigarettes was, to me, a smug, unbearably self-indulgent misuse of normally talented actors and intriguing personalities in a film that made me acutely aware that I have a pair of buttocks that can be subject to intensely wrenching pain under the right circumstances, which Coffee and Cigarettes certainly provided. I got into a lot of arguments about this (including on this website!), and since I've normally admired Jarmusch's past efforts (especially Ghost Dog: The Way of the Samurai and his alternately hilarious and poignant global jaunt Night on Earth) I really wanted to like this one. But I'm afraid Broken Flowers was pretty much more of the same, with no conversation in Jarmuschland existing without a 30-second pause filling in space between every line of dialogue, and lots longer dead spaces when only one person's in the room or on the road. (I mean, I love Marvin Gaye's hit "I Want You" as much as anyone, but I have no desire to hear the whole song while staring at Murray's lump-of-white-Play-Doh-dropped-on-the-floor-next-to-the-radiator-and-left-there-for-a-month puss the entire time it's playing!) Just because both this and the last two films of Alexander Payne, About Schmidt and Sideways, all involve journeys doesn't make comparisons between Jarmusch and Payne fly; Payne, an American Charles Dickens, loads his films with incredibly well-observed detail while Jarmusch fills his with blank spaces and emptiness. Only the amusing sequence involving Jessica Lange (don't call her an animal psychic!), Chloe Sevigny and Ramon the cat brings much life to the archly slow proceedings; Jeremy Wright as Murray's mystery-loving neighbor is so likable that he helps tremendously as well--but the rub here, as poster richard b. astutely indicated, is that with Wright's character Broken Flowers is pushing the facile stereotype that Black people are by definition all happy and uncomplicated while Whites are neurotic and empty-souled. (Donald Bogle calls this the "huckfinn syndrome", and it's subtly racist.) Pauline Kael once wittily described Michaelangelo Antonioni's films as "come dressed as the sick soul of Europe parties"; insert "White America" in place of "Europe" and you've got the essence of Broken Flowers. And, quite frankly, I'm getting awfully tired of watching Murray repeatedly play these lonely, pathetic, emotionally-stunted, ennui-infested closet cases: I treasured his performance in Lost in Translation partially because it represented a CHANGE OF PACE, but whether you're discussing his 1980s Stripes/Ghostbusters period or his current The Life Aquatic/Broken Flowers one, a rut is still a rut. If nothing else, Murray's work here inspired in me a desperate desire to race home, throw my What About Bob? DVD in the machine, and take some delightful baby steps.…Expand
0 of 0 users found this helpful
2
Joe
Feb 27, 2006
When is Bill Murray going to break out of his catotonic state? What a bore and what a lousy ending.
0 of 0 users found this helpful
0
GregG
Aug 24, 2005
Where is a flashlight when I need one? My wife and I wanted to play gin rummy! Come on, Bill! This is beyond subtle. This is beyond deadpan. This is beyond the beyond! Don't waste your money.