Broken flowers who is his son

It was all solid, funny stuff, but I think the film's real strength is in its final scenes. Up until those scenes, there was a more conventional film than the typical Jarmusch movie. All his stuff has a high level of ambiguity and frequently ends on a note of mystery. Most of the film was fairly straightforward, and while I've heard some people say that nothing happened in the film and it was slow, I thought it was constantly engaging, much more so than Stranger than Paradise or Dead Man.

Anyway, as the film progresses, Don begins to think that his son must be trying to get in touch with him, and as a result, he begins to think that anyone who's around twenty must be his son. The scene where he speaks with the kid, and tries to reach out to him is phenomenal, full of ambiguity and emotion.

At this point, Don has become attached to having a kid, and despite the fact that Sherry's letter almost definitively proves that he never had a son in the first place, he's still searching for him.

So, when he sees this kid, he decides that he must be his son, his desire overwhelming his logic. It's almost painful to watch Don reach out and then get rejected. He'd constructed this fantasy and is quickly brought down to reality. And at the end, Don has deluded himself, trying to construct an emotional bond to fill in for the fact that his life is ultimately empty. The ending moments of the film were fantastic, and I'm glad that we were left not knowing exactly what happened.

The letter was just a mcguffin, it forced Don to assess his life, and after symbolically reliving his past, he fails trying to create his future. Even though I really liked the film, it did have something that always annoys me in a movie and that's when a character watches an old movie or cartoon that comments on the action in some way.

I think the whole Don Juan comparison was made a few too many times at the beginning, but besides that, I don't think that many people watch old movies or cartoons. This crops up in a lot of films though, probably because old stuff is public domain and therefore is a lot easier to use. But that doesn't obscure the fact that this was a really strong, funny and emotional movie. I think it's Jarmusch's best. Posted by Patrick at AM. Labels: Film. Thanks for post.

I really like to read. Hope to learn a lot and have a nice experience here! I guess this can be compared as a some real life momments. Anyway I love the movie was very nice and teach many things for life. Passive viewers who prefer information clearly stated through dialogue and visuals hate ambiguity, whereas active viewers thrive on ambiguity, implementing their own interpretations on a film.

Micheal W. Broken Flowers leaves viewers with more questions than answers due to an ambiguous narrative that only active viewers will be able to decipher. Ambiguous films require viewers to be active in understanding their content.

This does not matter for active viewers, as they know any observations will be significant. After Don reads the letter informing him about his son, he is persuaded to visit numerous ex-girlfriends.

Don talks to himself before visiting Laura, the first ex-girlfriend. Don asks Laura if she owns a typewriter, which was used to type the letter. However, it could be the passing of time that has made Dora regret the part of her past in which Don is included. Yet dialogue also contains indications which solve mysteries within ambiguous films. Passive viewers will simply take dialogue for granted, accepting everything a character said without any underlying meaning.

This is another method which reflects the impact of ambiguous films depending on active or passive viewers. Since Don is searching for the mysterious ex-girlfriend, active viewers could assume Dora is defensive, as she might feel her secret if any will be unraveled. Interpretations of Dora manifest during a dinner conversation between herself, her husband and Don. Whether this interpretation is right or wrong, it makes Broken Flowers a fulfilling film which strives on ambiguity.

Symbolic clues in films need to be understood if any ambiguity will be resolved. Passive viewers may simply refuse to contemplate symbolism or will be unable to link symbolism towards the narrative. Active viewers are able to relate symbolism towards the narrative through interpretations. Whether these interpretations are right or wrong, active viewers at least have the ability to make ambiguous films work.

Without the ability to form interpretations, the impact of ambiguous films will be minimal at best. After Don states he knows at least in his opinion that The Kid is his son, the latter is scared off and runs away as Don vainly attempts to catch up. These two moments leave Don in a confused state of mind. The ambiguity of the final scene is left for viewers to interpret, as Don has not resolved the identities of his mystery ex-girlfriend or son. Without forming these interpretations, Broken Flowers will remain ambiguous instead of meaningful.

Broken Flowers and its ambiguous narrative needs active viewers, or else it will suffer. It is highly important for all viewers to be active whilst watching Broken Flowers, as any interpretations will give the film poignancy, a poignancy nonexistent with passive viewers. Broken Flowers. Neat analyses. I really enjoyed your analysis. I am a sucker for a summer blockbuster but I absolutely love character driven films that demand the viewer to interact.

Hey Ryan. I really like the way the article turned out. Great job with everything, and I will try to catch this film sometime. Take it easy! Considering he got a letter addressed to him why not ask them if they were the ones who sent him the letter? This is another desperate attempt by hollywood to create an intellectual film with a high standard of art.

Seriously, the ending is not bad per se, it is only … facile and complacent. In a way, I felt exactly as I once did after being left without any explanation by a woman whom I saw again just like Don 31 years later, and who presented pictures of …. True story. It was a immense relief, because I had had no clue to the reason she had left me 31 years ago, having herself denied being pregnant at the time but she was!!

Notwithstanding all the blessings of adding another child to my family and becoming grandpa, I still feel anger towards her as our son does to for not having let me know the truth.

Back to the movie, a similar lesson applies. Like a good detective novel should provide enough clues to reconstitute the actual causes and circumstances of a crime. Crazy story about your son — why would a woman DO that? Glad you found out about him eventually though.

I thought the female roles were interesting and funny, providing excellent opportunities for some fine actresses. I like ambiguity in films from time to time. Buster Keaton had the same gift for contemplating astonishing developments with absolute calm. Buster surrounded himself with slapstick, and in "Broken Flowers" Jim Jarmusch surrounds Murray with a parade of formidable women. First stop, Laura Sharon Stone.

Neither daughter nor mother seems to know that the name Lolita has literary associations. Don does in fact spend the night with the mother, but we do not see precisely what goes on, and just as well: The sight of this passive and withdrawn man making love might be sad beyond calculation. Second woman, Dora Frances Conroy who with her husband Ron Christopher McDonald is a realtor, specializing in selling "quality prefabs" and currently living in a "wonderful example.

Carmen is an "animal communicator," who talks to people's pets on their behalf. The movie doesn't take cheap shots at this occupation, but suggests Carmen may be the real thing. Carmen: "He says you have a hidden agenda. The fourth woman, Penny Tilda Swinton has a front yard full of motorcycles, and lives in an atmosphere that makes Don feel threatened, not without reason.

There was a fifth possible candidate, who has been eliminated from Don's list because, well, she's dead. Were any of these women the mother of his child? I will leave that for you, and Don, to discover. After the film's premiere at Cannes, I observed: "Some actors give the kinds of performances where we want to get out of the room, stand on the lawn and watch them through a window.

Murray has the uncanny ability to invite us into his performance, into his stillness and sadness. I don't know how he does it. A Bill Murray imitation would be a pitiful sight: Passive immobility, small gestures of the eyes, enigmatic comments, yes, those would be easy, but how does he suggest the low tones of crashing chaotic uncertainty?

Jim Jarmusch first came into focus in with "Stranger than Paradise," about a slick New Yorker who gets an unexpected visit from his Hungarian cousin, who is sexy and naive and soon leaves to visit her aunt in Cleveland.

Then followed a series of films of various degrees of wonderfulness; I have admired them all except for " Dead Man " ; the critic Jonathan Rosenbaum regards me sadly every time this title is mentioned. Jarmusch makes films about outsiders, but they're not loners, they're soloists. Bill Murray's character here is the ultimate Jarmusch soloist, in that he lacks even an instrument.