The Limits of Control (2009)

Written and Directed by Jim Jarmusch
Starring: Isaach De Bankolé, Tilda Swinton, John Hurt, Bill Murray, Gael Garci Bernal
Run Time: 116 min
MPAA Rating: R
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When it comes to movies, there can be different sorts of pacing and presentations. When handled the right way, any choice can be appropriate, good, even great. On the subtler end of the spectrum, there’s slow but riveting and effective. There’s slow and minimal. Recent films such as No Country for Old Men, Lone Star State and Caché come to mind. Then there’s Jim Jarmusch’s latest film, The Limits of Control—too slow, too minimal, too metaphorical; and, in the end, ineffective. It’s one thing for a film/filmmaker to elicit excited curiosity and questions after a viewing, leaving the viewers wondering and wishing for more, but quite another when the audience is at a total loss as to what they just watched, and what was the purpose.

Dubbed as an international crime thriller, The Limits of Control follows the story of a mystery man referred to only as the “Lone Man” as he completes his mission throughout various locales in Spain. Seemingly passing along pertinent information as well as receiving it, The “Lone Man” is played effectively by the talented and captivating actor Isaach De Bankole. He probably has no more than two lines throughout the film, but he pulls off the role with his strong, chiseled face and a piercing gaze. His attractiveness, coupled with the locations, play into Jarmusch’s and photographer Christopher Doyle’s strong visual sensibility. Unfortunately, this does little to give one insight into the character or plot. We know nothing about the Lone Man’s background, nothing much about his mission, and are only given little insight into his personality—he likes espresso coffee, he appreciates art and going to museums, which somehow plays into the clues, and he doesn’t speak Spanish (I think that was some sort of secret code). What is noteworthy of him and the film is its anti-Hollywood, modern-day action hero stance. The Lone Man doesn’t jump at the opportunity to be with the gorgeous babe in his bed, and he has no use for the simplest of gadgets, such as a cell phone.

Almost just as mysterious are his co-conspirators, who together make up an impressive ensemble cast, including Tilda Swinton, John Hurt and Bill Murray, just to name a few. Most of these fleeting characters supply the Lone Man with his next necessary clue, and some have philosophical insight to impart that does little to enlighten him or the audience. In conversing with the main character, Swinton alludes to classic films, including one of Hitchcock’s (maybe another clue). As The Limits of Control plays out, you get the sense that maybe much of its existence is to serve as an homage to the films, filmmakers and literature of a bygone era. Herein possibly lies the problem. Limits is too “deep,” and too dependent on insider information. Information that Jarmusch knows but forgot to let the rest of us in on.

Paula Farmer