Permanent Vacation


Permanent Vacation

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Average Rating: 3.4/5

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Movie Info

In this episodic little film, an alienated young man ambles about the lonely streets of Manhattan. There he meets an assorted people, visits his girl, and his mother who is sick. Each meeting is presented as a single vignette, separate from the others.

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Maria Duval
as Latin girl
Chris Parker
as Aloysious Parker
Richard Boes
as War veteran
John Lurie
as Sax Player
Eric Mitchell
as Car fence
Lisa Rosen
as Popcorn Girl
Frankie Faison
as Man in Lobby
Suzanne Fletcher
as Girl in Car
Felice Rosser
as Woman by Mailbox
Chris Hameon
as French Traveler
Evelyn Smith
as Patient
Jane Fire
as Nurse
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Critic Reviews for Permanent Vacation

All Critics (3)

Audience Reviews for Permanent Vacation


Jim Jarmusch's first film seem more experimental than major compared to his other films. Permanent Vacation shows of Jarmusch's cinematic expression with poetic nature and calm atomosphere. The story Follows a young man his views in life and the world he personally live in, full of likable scenarios and and self discovery. The pacing may be a bit slow, but it a small film with a lot of potential and really shows off what Jarmusch did before his more superior features. Recomended for those familiar with Jarmusch's films.

Luke Eberhardt
Luke Eberhardt

Super Reviewer

One thing's for sure: Writer-director Jim Jarmusch relished long silences and deathly slow pacing from the start. "Permanent Vacation," his no-budget debut, lasts a mere 75 minutes but feels more like 175. There is no tangible plot -- only a ducktailed drifter named Allie (Chris Parker) who wanders around seedy New York, having light encounters with various subculture characters. Recurrent Jarmusch collaborators Sara Driver and John Lurie are among the cast, and Lurie also wrote the score. "Stranger than Paradise" fans (hopefully, this includes everyone?) will notice the two films have similar endings. "Permanent Vacation" is much more of an endurance test, however. Parker dominates the screen time yet, unfortunately, he may be the film's least interesting actor. His prime handicap is a thin, whiny voice that would quickly turn unbearable if not for him having so few lines. Really, the film's most notable aspect may be its sound. The score is dominated by odd, droning lines that sound like church bells ringing underwater, and low-flying planes and ambient noise often obscure the dialogue. The mix's chance imperfections are almost avant-garde.

Eric Broome
Eric Broome

Super Reviewer

Good God was this a hard film to sit through. Conceptually, it's a good idea (a kooky dude aimlessly wandering around the dingier parts of lower Manhattan interacting with people as nutty as himself) in small doses or fragments, but to have the whole film be nothing but that...damn. Stranger Than Paradise had no real plot, but at least had some semblance of a structure. This is totally plotless and free form. I probably would have liked this more had I viewewed it in an altered state of mind. To put things in perspective though, it was made 100% on the cheap, is the essence of independent cinema, and was Jarmusch's first film, so some of this is forgiveable. It pretty much an intriguing student film that shows signs of creativity, even if things aren't completely there yet. This work heavily forshadows the future of Jarmusch's career, but I won't recommend this as a starting place for people wanting to get into his work. This is definitely for hardcore fans only.

Chris Weber
Chris Weber

Super Reviewer

Jarmusch's first film doesn't possess the charm of his later ones, but his freewheeling episodic approach to storytelling is already evident.

Robert Fearon
Robert Fearon

Super Reviewer

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