On the whole I enjoyed this movie, as I have most Jarmusch films. Perhaps it's just me, but I felt the theme of dreams was more pertinent to the soul of the film than the reoccuring symbolism of the train. I won't go as far as others to say that the symbolism of the train was irrelevant; I believe it was. However, the theme of dreams in the city of Memphis resonated far more with me than anything else, possibly because of my own experience with dreaming in Memphis, both literally and figuratively.
While the quote from Mitzuko that I used to open my post was in reference to the literal act of dreaming, their relationship to the theme at hand was more existential. They seemed to be idealistic teenagers like any other, except that they were the product of a hyper-industrialized nation that through it's culture and ideology, one could make the argument that it lacks "soul" in the way that the American South does. Something about this "soul" and it's products (in this case, Memphis rock and roll) spoke to them in a way their own culture did not. Their dream in this case was to finally be in the midst of a culture they idolized, hence their journey through the American South that began in Memphis. On our handout, Doug posited the following question: "What did the Japanese couple come to Memphis hoping to find? Did they find it?" I would argue that the landmarks they sought out were what they were looking for specifically (Sun Studios, Graceland, et al), however to view it in a more broad manner, I think they were looking to find a culture and society like they found reflected in the music of Elvis, Carl Perkins, and Roy Orbison. As their ennui and polite disappointment displayed, I do not believe that they found what they were looking for.
Then there is the Italian woman. She had no direct connection to Memphis, nor any intention to find herself in it. (The reader will recall the phone conversation she had in which she stated that she was there due to a mistake on the part of the airline.) Her link to the theme of dreaming in Memphis is quite literal - Elvis appeared to her - quite by accident - in a dream during her one and only night in the city. Frankly I have no idea what that incident had to do with anything, save for a possible connection with the idea that we can be made believers in just about anything through a single sincere experience (her dream) amdist so much that seems contrived (the farfetched story about the spirit of Elvis by the man who only wanted her money, the convenience store owner who swindled her into an absurd amount of magazines, and the "hospitality" of the hotel clerk). One could go out on a limb and wonder if this experience injected a little faith in her during a time in which it seemed she had lost so much of her life (e.g. the death of her husband).
Then there's Deedee (Didi?) and Johnny (played by Joe Strummer, one of my favorite people of all time). Their connection to dreams should be rather obvious as it is an age-old cliche; the dreams of starting anew together in the exhilarating experience of "true love". This could also be connected to Charlie, Deedee's brother. His dream of having a successful business in Memphis with his family and (false) in-law close by. Dreams of love are often shattered and the reality of heartbreak and being alone is debilitating. Interestingly, this is a common theme in the music of the Sun Studios artists, particularly Elvis. One has to wonder if Johnny's loathed nickname (Elvis) was more than a resemblance. Was it also perhaps a prophecy of sorts?
Forgive the intense stream of consciousness in which this was written; it's been a rough week. Yes, I realize it's only Tuesday.
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