| Videos |
| Tom Waits | ... | Zack | |
| John Lurie | ... | Jack | |
| Roberto Benigni | ... | Roberto | |
| Nicoletta Braschi | ... | Nicoletta | |
| Ellen Barkin | ... | Laurette | |
| Billie Neal | ... | Bobbie | |
| Rockets Redglare | ... | Gig | |
| Vernel Bagneris | ... | Preston | |
| Timothea | ... | Julie | |
| L.C. Drane | ... | L. C | |
| Joy N. Houck Jr. | ... | Detective Mandino | |
| Carrie Lindsoe | ... | Young Girl | |
| Ralph Joseph | ... | Detective | |
| Richard Boes | ... | Detective | |
| Dave Petitjean | ... | Cajun Detective | |
| Adam Cohen | ... | Uniformed Cop | |
| Alan Kleinberg | ... | Corpse | |
| Archie Sampier | ... | Prisoner | |
| David Dahlgren | ... | Guard #1 | |
| Alex Miller | ... | Guard #2 | |
| Eliott Keener | ... | Guard #3 | |
| Jay Hilliard | ... | Guard #4 | |
| rest of cast listed alphabetically: | |||
| Pruitt Taylor Vince | ... | (scenes deleted) | |
Directed by | |||
| Jim Jarmusch | |||
Writing credits(in alphabetical order) | ||
| Jim Jarmusch | written by | |
Original Music by | |||
| John Lurie | |||
Cinematography by | |||
| Robby Müller | |||
Film Editing by | |||
| Melody London | |||
Production Design by | |||
| Janet Densmore | |||
Costume Design by | |||
| Carol Wood | |||
Makeup Department | |||
| Donita Miller | .... | hair stylist | |
| Donita Miller | .... | makeup artist | |
Production Management | |||
| David Ross McCarty | .... | location unit manager | |
| Rudd Simmons | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Guido Chiesa | .... | second assistant director | |
| Claire Denis | .... | assistant director | |
Art Department | |||
| Janet Densmore | .... | prop master | |
| Janet Densmore | .... | set dresser | |
| Roger Knight | .... | assistant props and sets | |
Sound Department | |||
| John Auerbach | .... | supervising sound editor | |
| Martin Bisi | .... | additional sound recordist | |
| Matthew Corey | .... | apprentice sound editor (as Matt Corey) | |
| Mark Goodermote | .... | boom operator | |
| Stanley Kastner | .... | sound re-recordist (as Stan Kastner) | |
| Robin Katz | .... | second assistant sound editor | |
| Frank Kern | .... | sound editor | |
| Drew Kunin | .... | sound mixer | |
| Peter Waggoner | .... | sound re-recordist | |
| Sylvia Waliga | .... | first assistant sound editor | |
Camera and Electrical Department | |||
| Jack Anderson | .... | first assistant camera | |
| Hank Billeaud | .... | best boy | |
| Hank Billeaud | .... | gaffer | |
| Theo Cremona | .... | second assistant camera | |
| Paul Ferrara | .... | key grip | |
| Christopher Porter | .... | gaffer | |
| Michael Ruggles | .... | best boy | |
| Louis Tancredi | .... | electrician | |
| Louis Tancredi | .... | swing grip | |
Casting Department | |||
| Claudia Splecher | .... | additional casting | |
| Alison Walsh | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Lynn Simpson | .... | costume assistant | |
Editorial Department | |||
| Tim Brennan | .... | negative matcher | |
| Lori Mozilo | .... | assistant film editor | |
| Jay Rabinowitz | .... | apprentice film editor | |
| Tom Salvatore | .... | color timer | |
Music Department | |||
| Doug Bowne | .... | musician: drums | |
| Curtis Fowlkes | .... | musician: trombone | |
| Tony Garnier | .... | musician: acoustic bass | |
| Lisa Krueger | .... | music coordinator | |
| Tom Lazarus | .... | music mixer | |
| Tom Lazarus | .... | music recordist | |
| Arto Lindsay | .... | musician: guitar | |
| Eugene J. Moye | .... | musician: cello (as Eugene Moye) | |
| Marc Ribot | .... | musician: trumpet and banjo | |
| E.J. Rodriguez | .... | musician: percussion | |
| Nana Vasconcelos | .... | musician: percussion | |
Other crew | |||
| Billy Bragg | .... | available lighting | |
| Allison Brandin | .... | production assistant | |
| Joe Catalanotto | .... | independent studios | |
| Charles De Cuir | .... | production assistant | |
| Sara Driver | .... | production troubleshooter | |
| Peter Grand | .... | script supervisor | |
| Matthew A. Handal | .... | production assistant (as Matthew Handal) | |
| Kathie Hersch | .... | production coordinator/auditor | |
| Eric Hoffman | .... | projectionist | |
| Tom Jarmusch | .... | production assistant | |
| Lisa Krueger | .... | assistant to producer | |
| Tommy Samona | .... | production assistant | |
| Stephanie Samuel | .... | assistant location manager | |
| Ida Schonfeld | .... | intern | |
| Phil Seifert III | .... | production assistant | |
| Mary Shelton | .... | location assistant | |
| Camela Smyke | .... | office coordinator: New York | |
| Lynn Staats | .... | production controller | |
| Alison Walsh | .... | assistant coordinator | |
Thanks | |||
| Simon Brook | .... | special thanks | |
| Don Donigi | .... | special thanks | |
| Bill Nisselson | .... | special thanks | |
| Pascale Ogier | .... | dedicatee | |
| Melvin Pukowsky | .... | special thanks | |
| Phil Sodano | .... | special thanks | |
| Enzo Ungari | .... | dedicatee | |
| Irwin Young | .... | special thanks | |
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I've seen a couple of Jarmusch movies and except for Dead Man (which I thought was an incredible bore), they were all great.
Down By Law is probably one his best known flicks and is a very good low budget movie. It features Tom Waits, who's not only a fine musician but proves to be a decent actor as well; John Lurie, who also wrote the excellent soundtrack (Waits delivered the opening and end-credits track btw); Roberto Benigni, who nowadays is most famous for directing the Oscar-winning Italian film "La Vita E Bella".
The movie deals about three guys who meet in prison and escape. It reminded me of "O Brother Where Are Thou?" and, perhaps because of it being filmed in black and white, of old 40's movies about escaping prisoners (can't think of a good example, but you get the picture).
Three things I liked very much about this movie:
1. It's incredibly funny, especially Benigni made me laugh every time he opened his mouth - He irritated me highly in "La Vita E Bella" so that must mean something....
2. The frame of the camera is very well used. Look at the scene where Lurie counts the money and a hooker is laying behind him on the bed and the scene after that. Another example is when Benigni is dancing with a lady and the other two guys are continuing their breakfast in the back.
3. It's very hard to pinpoint when the story takes place; it's timeless in more than one way, obviously helped by the lack of color.
All in all, this one comes highly recommended.